The tense first trailer for the Florence Pugh and Harry Styles-starring Don’t Worry Darling has arrived – scroll down the page to watch it now.

The psychological thriller marks Olivia Wilde’s second directorial release and also stars Chris Pine, Gemma Chan, KiKi Layne, Nick Kroll and more.

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The trailer introduces us to Alice (played by Pugh), a housewife living in an experimental utopian community called Victory with her husband, Jack (Styles). But as everyone else in the neighbourhood seems content to accept their lives in the project, Alice begins to question their purpose.

As she looks closer at their world, she faces resistance from those around her – including Jack. “Everyone is acting like I’m crazy and I’m not crazy,” she says at one point as she’s shown appearing to witness a neighbour smash their head into a mirrored wall. Watch the trailer below now.

According to an official synopsis for Don’t Worry Darling, “Alice and Jack are lucky to be living in Victory, the experimental company town housing the men who work for the top-secret Victory Project and their families. Life is perfect, with every resident’s needs met by the company. All they ask in return is an unquestioning commitment to the Victory cause.

“But when cracks in their idyllic life begin to appear, exposing flashes of something much more sinister lurking beneath the attractive façade, Alice can’t help questioning what they’re doing in Victory, and why. Just how much is Alice willing to lose to expose what’s really going on in paradise?”

Don’t Worry Darling will arrive in cinemas on September 23.

In an interview last year, Wilde – who also stars in the new film – said the movie is the equivalent of “The Feminine Mystique on acid”, and was inspired by psychosexual thrillers like Fatal Attraction and Indecent Proposal.

“[Those movies are] really sexy, in a grown-up way,” she said. “I kept saying, ‘Why isn’t there any good sex in film anymore?” Continuing to discuss one of Don’t Worry Darling’s sex scenes, the filmmaker said she wanted to make audiences “realise how rarely they see female hunger, and specifically this type of female pleasure” on screens.