The twists in Goodnight, Mommy start as far back as the trailer that popped up earlier this year. In it, a pair of tousled pre-tween twins (Lukas and Elias Schwarz) welcome their mother home from facial surgery that has left her face swaddled in bandages, but they become concerned that the person behind the gauze is actually a malevolent stranger. It was, and remains, sublimely creepy. What’s more unnerving than the notion that you don’t really know the one person in the world to whom you’re closest? Now that it’s actually out on DVD, Blu-ray, and streaming, however, the actual film bears little resemblance to its teaser.

Reading the rest this paragraph runs the risk of ruining your pristine viewing experience, though Austrian writer/directors Severin Fiala and Veronika Franz do more than their share to ding it for you. If you’re really paying attention, you’ll spot the film’s big twist within the first few shots. Within 15 minutes, it should be obvious. It turns out that Goodnight, Mommy has no interest in being the primal-fear-exploiting horror flick promised. Instead, it’s a tricksy psychological thriller with a sadistic bent. In fact, it brings to mind the clinical but brutal work of fellow Austrian Michael Haneke (Funny Games, The Piano Teacher), if Haneke suddenly got it in his head to try a straight-up gorno. That’s not to say that Goodnight, Mommy isn’t well made and dotted with some disturbing and tense moments. But given Fiala and Franz’s maladroit handling of the material and the meager insights they deliver, it’s hard not to wish that they’d gone ahead and made the movie in the trailer instead.

For a more engaging and surprising take on the psyche of a cloistered woman, hunt down Blind, a recent Norwegian film new to DVD and streaming. As the title tips, Ingrid (Ellen Dorrit Petersen) has just lost her sight and has retreated to her apartment while she adjusts to her condition. But her mind wanders, leading her to suspect that her architect husband (Henrik Rafaelsen) sometimes stays home and silently watches her from across the room. And writer/director Eskil Vogt’s script and camera wander, too, shadowing a ponytailed schlub (Marius Kolbenstvedt) with a thing for Internet porn and a growing thing for his single neighbor (Vera Vitali).

Just when you think Vogt’s disparate threads might come together into one of those tiresome multi-character treatises on modern relationships and urban connectivity, Blind starts to veer toward Charlie Kaufman territory­­—it clearly has bigger, more meta things on its mind than who might sleep with whom. Here is a twist that works, and a film that actually does say something relatively novel about Our Modern Condition, and Blind’s under-the-radar profile in this country only helps it deliver the punch it packs.