Film
I Spit on Your Grave
A revenge thriller about a writer who, after suffering brutal violence at the hands of local men, methodically hunts them down. It's unflinching and bleak, designed to provoke rather than comfort. For viewers who can tolerate extreme content in service of a serious theme.
If you liked this
The Last House on the Left1972
Wes Craven's original revenge horror is rawer and more psychologically complex than its reputation suggests. It's where this subgenre found its moral weight.
But Genuinely difficult to watch. The violence isn't glamorous, and the film doesn't offer easy catharsis—which is partly the point.

Hard Candy2006
A cat-and-mouse thriller between a girl and a predator where power shifts constantly. Taut, clever, and morally queasy in ways that linger.
But The premise is deliberately provocative. It asks uncomfortable questions rather than answering them, which some find frustrating.

Promising Young Woman2020
A woman exacts a quiet reckoning on men who've enabled harm. Stylish, angry, and structurally brilliant—a revenge story for the #MeToo era with real bite.
But Some find the ending morally ambiguous in a way that feels unsatisfying. The tone shifts between thriller and something darker.

Not sure tonight? Get a pick in a minute, starting from I Spit on Your Grave
The wildcard
Something you would not have found on your own.
Audition2000
Both films weaponize the male gaze against itself. Each uses extreme violence not for spectacle but to interrogate how men see women as objects.
A widower auditioning women for romance stumbles into something far darker. It's a Japanese horror-thriller that deconstructs male entitlement with surgical precision and genuine horror.
But The last thirty minutes are genuinely disturbing body horror. It's a slow burn that rewards patience but tests it severely.

More like this (8)
A Dark Song2016
A woman hires an occultist for a mysterious ritual. It's a intimate, haunting film about grief and agency that builds to something genuinely transcendent.
But It's quiet and contemplative, not a thriller. The payoff is spiritual rather than visceral, which won't satisfy everyone.

Teeth2008
A body-horror take on violation and reclamation. Darkly funny and genuinely unsettling, it weaponizes female anatomy in ways that feel transgressive and earned.
But The premise is deliberately grotesque. It's a genre film that doesn't always feel like it's playing fair—which is exactly its point.

Raw2017
A young woman's awakening to appetites—literal and metaphorical—told as horror. Visceral, sensual, and genuinely disorienting in the best way.
But It's arthouse horror with cannibalism elements. The pacing is slow and the violence is ugly rather than cathartic.

Jennifer's Body2009
A girl possessed by a demon uses it to exact revenge on men who've harmed her. Fun, angry, and surprisingly smart about desire and female rage.
But It's campy and occasionally undercuts its own darkness for laughs. Some see that as perfect; others find it dilutes the stakes.

The Nightingale2018
An Australian frontier survival story where a traumatized woman becomes a hunter. Brutal and unflinching, with a moral complexity that doesn't resolve neatly.
But The opening violence is devastating. It's relentlessly bleak and doesn't offer comfort—the entire film is an endurance test.

A Woman Under the Influence1974
Cassavetes's masterpiece about a woman whose autonomy is stripped away. It's about control, not revenge, but shares the obsessive intensity and refusal to look away.
But It's an art film about marital dysfunction, not a thriller. If you want plot momentum and payoff, you won't find it here.

The Tale2018
Both center a woman's account of violation and survival, but The Tale refuses simple revenge fantasy—it's about the harder work of understanding and witnessing.
A documentary-style narrative about a woman reconstructing childhood abuse. It's formally inventive and psychologically complex—memory itself becomes unreliable and contested.
But It's deliberately fragmented and non-linear. Some will find its refusal of clarity profound; others will find it frustrating.

Goodnight Mommy2015
Both use isolation, secrets, and escalating violence to explore power dynamics. Goodnight Mommy makes the familiar monstrous; I Spit on Your Grave weaponizes the victim. Both ask who deserves mercy.
An Austrian horror film about twin boys and their post-surgery mother. It's formally precise, deeply unsettling, and builds to a reveal that recontextualizes everything.
But It's a slow-burn art-horror film in German. The violence is sudden and the emotional logic is glacial—not for impatient viewers.

People
Cast
Sarah ButlerJennifer Hills
Jeff BransonJohn 'Johnny' Miller
Tracey WalterEarl
Andrew HowardSheriff Storch
Chad LindbergMatthew
Rodney EastmanAndy
Daniel FranzeseStanley
Mollie MilliganMrs. Storch
Saxon SharbinoChastity Storch- Amber Dawn LandrumGirl at Gas Station
- Michelle TonjesGirl in Truck (uncredited)
Directing
- Steven R. MonroeDirector
- Jeff FullerFirst Assistant Director
Writing
- Meir ZarchiOriginal Film Writer
- Adam RockoffScreenplay
Production
- Amy ReeceCasting
- Danny RothCasting
- Penny PerryCasting
- Kevin KashaCo-Executive Producer
- Bill BerryCo-Producer
- Daniel GilboyCo-Producer
- Neil ElmanCo-Producer
- Alan OstroffExecutive Producer
- Gary NeedleExecutive Producer
- Jeff KleinExecutive Producer
- Meir ZarchiExecutive Producer
- Lisa M. HansenProducer
- Paul HertzbergProducer
- Taeko MasuyamaProduction Supervisor