It’s arthouse horror Sunday here, apparently, because both of these movies are foreign-language black-and-white horror-adjacent things.

Hour of the Wolf is an Ingmar Bergman joint from 1968. It starts off with all these Blair Witch-style “this is a true story” signifiers, with title credits about how the movie is based on this guy’s diary and an interview with his wife after he disappeared; it starts off with the interview with the wife, who is Liv Ullmann. Her looking at the camera while delivering this monologue is heavily reminiscent of Persona, and the movie has that same kind of psychological horror feel, of isolation and a blending of the fantastic and the real.

But I think this one works less well than Persona, because it doesn’t seem to really be saying as much. Like, yes, it keeps you wondering what’s real, but it’s not clear why it would matter. Still, it’s tense and unsettling, and if you want to watch a movie that feels like something of a nightmare, with Bergman’s undeniable aesthetic sense, you could do worse.

A Girl Walks Home Alone at Night is a very different thing. It’s directed by an Iranian-American woman, Ana Lily Amirpour, and it’s probably best to call it an Iranian-American film. It was produced and filmed in America, but it’s set in Iran and it’s a Persian-language movie with English subtitles. Despite the Iranian trappings, it feels like a modern American arthouse movie (it debuted at Sundance in 2014) in its concerns and its style — it’s more influenced by Tarantino than Kiarostami.

It’s a much more straightforward story than Bergman’s: Without giving the whole story away, it’s a vampire movie in which a young woman more or less enforces a sort of vigilante justice on the inhabitants of a crime-ridden city, plus also there’s a bit of a love story that ties into that vampire vigilante-ism in a way that inspires tension.

It’s well-done, with sparse dialogue that doesn’t get in the way of the story, and just enough ambiguity to keep things interesting. But also, we saw this as a Joe Bob Briggs thing, and I have to say, this movie’s aesthetic is not really a natural pairing for Joe Bob’s style.

Both movies recommended to fans of arthouse horror, with the Bergman skewing more arthouse and the Amirpour skewing more horror.