Not Rated
2020    89mDrama, Horror
6.098%61%5.9
Two mysterious siblings find themselves at odds over care for their frail and sickly younger brother.
Directed by Jonathan Cuartas
  • Patrick FugitDwight / Producer
  • Ingrid Sophie SchramJessie
  • Owen CampbellThomas
  • Moises L. TovarEduardo
  • Judah BatemanTurner
  • Katie PrestonPam
  • Waine RichesNed
  • Nancy FongThrift Store Owner
  • Micah WhiteWaitress
  • Adrienne AkersMotel Clerk / Script Supervisor
  • Jesse BrownScrawny Guy
  • Gary McLarenCop
  • Jeffrey HansonTurner's Dad
  • Jonathan CuartasDirector / Writer
  • Anthony PedoneProducer
  • Matt WighamExecutive Producer
  • Kenny RichesExecutive Producer
  • Ian PetersonProducer
  • Rodrigo CuartasProduction Design
  • Knoebody
    KnoebodyJune 5, 2025
    This is the kind of movie that's best going in completely blind with no information.. so weird and uncomfortable. Underrated and highly recommended
  • Garrett Wilkins
    Garrett WilkinsJuly 16, 2026
    Some of the most unsettling horror films barely resemble horror at all. My Heart Can't Beat Unless You Tell It To approaches the genre with restraint that horror fans won't be used to seeing. The film treats its supernatural premise less as a source of scares than as the foundation for an intimate family drama. Jonathan Cuartas directs with unusual patience, allowing silence and small gestures to carry as much weight as dialogue. The film's muted visual style creates a melancholy atmosphere that's more concerned with the emotional toll of the sacrifices family members make for one another than conventional horror. Owen Campbell, Patrick Fugit, and Ingrid Sophie Schram all contribute to a believable family dynamic that grounds the film's impossible premise in genuine human emotion rather than anything mainstream horror fans will recognize. What makes the film stand out also ended up being what kept me at a distance. I admired how completely it committed to such an eerie, understated approach, but there were stretches where the story seemed content to linger in the same emotional space instead of pushing its characters' relationships somewhere more revealing. I was more appreciative of the atmosphere and intentions than of becoming fully invested in the narrative. The film works more often than it doesn't because it never bends itself toward conventional genre scares, and I respect that refusal. Still, I wish the storytelling had matched the confidence of the mood it establishes from the opening moments. Or perhaps, in the end, not doing so was an intention all along.

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