Sydney Sweeney may be best known as Cassie Howard from Euphoria, but her film career has been quietly getting more adventurous. From the glossy rom-com chaos of Anyone But You with Glen Powell to the psychological twists of The Housemaid, she has steadily built a filmography that refuses to sit in one genre. 

Now, one of her more overlooked detours is getting another shot at finding an audience as it heads to Netflix this month. And considering the film puts Sweeney in an isolated Italian convent, the timing feels almost suspiciously appropriate.

Sydney Sweeney’s 2024 religious horror film Immaculate arrives on Netflix in the United States on August 13, 2026. Directed by Michael Mohan from a screenplay by Andrew Lobel, the film stars Sweeney as Sister Cecilia, alongside Álvaro Morte, Simona Tabasco, Benedetta Porcaroli and Dora Romano. 

The interesting wrinkle is that Sweeney was not simply the star. She also produced the movie, turning Immaculate into a particularly personal piece of her career. The project had actually been on her radar for years, dating back to an audition she made as a teenager, before she eventually helped resurrect it as a producer. 

That makes its Netflix arrival more than another catalog shuffle. Streaming has a habit of giving smaller theatrical releases a second life, especially films whose initial marketing cycle was dwarfed by bigger releases. Immaculate opened theatrically in March 2024 and ultimately earned about $34.85 million worldwide, including $15.67 million domestically. It also landed a 71% Tomatometer score from 213 reviews, with Rotten Tomatoes specifically highlighting Sweeney’s performance as the film’s saving grace. 

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But the real nightmare begins once Cecilia realizes the convent is not the sanctuary it promised to be.

The setup initially sounds almost serene. Cecilia, played by Sydney Sweeney, a young American woman of deep faith, travels to the Italian countryside and joins a remote convent where she appears to have found a new spiritual home. Instead, the picturesque surroundings gradually become a gothic trap. Her miraculous pregnancy transforms the atmosphere from religious devotion into something increasingly sinister. 

This is where Immaculate taps into an older strain of horror cinema. Its DNA runs through the same corridors as Rosemary’s Baby, Italian gothic horror and the nunsploitation tradition, using religious imagery not merely as decoration but as a mechanism for control. The convent becomes less a place of refuge than an institution where Cecilia’s body, faith and choices are steadily taken away from her.

With Netflix giving this overlooked horror thriller another platform, Immaculate could finally receive the second-chance audience that its theatrical run never quite had. For anyone tracking Sweeney’s increasingly eclectic filmography, Immaculate remains one of her most interesting genre swings. The convent is beautiful, the faith is absolute and almost nothing about the situation is what it seems.

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Have you watched Immaculate, or will its Netflix arrival be your first time seeing it? Share your thoughts in the comments.