一處廢棄草叢，發(fā)生一系列詭異的殺人魔連環(huán)殺人事件，讓警探阿邦（瓊姆芭絲康飾演）展開調(diào)查。某夜，他們遇到喬伊絲（吉蓮維琴西奧飾演）與她的一群朋友，揚(yáng)言要在這片草叢中上哀悼慘遭殺害的親友，實(shí)際上她們也是為了調(diào)查這一連串真相，而來(lái)到了這片草叢。兩邊人馬開始在草叢中搜尋，竟意外發(fā)現(xiàn)殺人魔可能并非人類，更像是神秘的超自然力量；而另一位神秘人物史蒂芬（克里斯多夫加西亞飾演），則掌握著這個(gè)超自然殺手魔的關(guān)鍵真相…。

　　故事發(fā)生在萬(wàn)圣節(jié)的當(dāng)晚，塔拉（Jenna Kanell 飾）和道恩（Catherine Corcoran 飾）醉醺醺的從一個(gè)派對(duì)中離開，走在清冷的大街上，兩人打算去一家披薩店弄點(diǎn)吃的，一個(gè)小丑打扮的男人尾隨她們也進(jìn)入了店里，雖然小丑的樣貌十分可怖，但個(gè) 性似乎還挺可愛的，除了他把店里的廁所弄的一團(tuán)糟，氣炸了店主。
　　之后，塔拉和道恩離開了店里，塔拉進(jìn)入了一間公寓上廁所，道恩在路邊等她，小丑再度出現(xiàn)在了她的身后，這一次，小丑想做的便不僅僅是逗她笑這么簡(jiǎn)單了。小丑打暈了塔拉，當(dāng)塔拉再度醒來(lái)時(shí)，映入眼簾的，是被倒掛的道恩和在一邊手持電鋸的小丑。

　　在經(jīng)歷了小丑阿特的萬(wàn)圣節(jié)大屠殺后，西耶娜和她的兄弟正在努力重建他們破碎的生活。隨著節(jié)日的臨近，他們?cè)噲D擁抱圣誕精神，把過去的恐怖拋在腦后。但就在他們以為自己安全的時(shí)候，小丑阿特回來(lái)了，決心把他們的節(jié)日歡樂變成一場(chǎng)新的噩夢(mèng)。隨著阿特釋放出他扭曲的恐怖，節(jié)日很快就結(jié)束了，證明沒有一個(gè)節(jié)日是安全的。

　　Follows a man whose pregnant wife gets murdered and despite the police investigation, the truth is unknown. He tries to find what happened, which confronts him with situations of suspense and terror.

　　Following her mother’s death, manga artist Soriya travels to her ancestral home in Phnom Penh, with hopes of reconnecting with her distant family and using the visit as inspiration for her work. All goes well initially. Renting an apartment in Metta, a rundown Khmer Rouge-era housing complex, her visit to her maternal relatives finds her welcomed with open arms. But Soriya’s waking hours in the apartment and its surroundings are punctuated by terrifying, bloody visions, almost as though she were a conduit for horrors of the past wanting to seep into the present.
　　Inrasothythep Neth and Sokyou Chea’s blood-chilling psychological horror explores a personal and political past through the present, transforming a characterful space into an insidious environment. Surrounded by modern high-rises, this decrepit structure, with its brutalist architecture and peeling surfaces, is a relic from a dark period in history whose painful memories it has absorbed. In tracing Soriya’s ominous journey back to her roots, Tenement hints at a necessary reckoning with Cambodia’s political past without overplaying its historical dimension. It’s an impressive work from a woefully underrepresented national cinema.