Film

Proxy

A pregnant woman attacked and scarred finds refuge in a support group, where newfound friendships harbor unsettling depths. Proxy is an unsettling, unpredictable chamber piece that weaponizes vulnerability and intimacy—watching people weaponize each other in the name of connection. For viewers comfortable with moral ambiguity and psychological cruelty delivered without catharsis.

TMDb rating2.8

If you liked this

Goodnight Mommy2015

An Austrian horror film that traps you in a claustrophobic house with children and a disfigured mother, building dread through fractured family bonds. The twist recontextualizes everything you've watched with cruel precision.

But The violence toward children is graphic and intentional. It's designed to alienate, not comfort.

Goodnight Mommy poster

Prevenge2017

A pregnant woman commits murders at her fetus's psychic command. It's surreal, darkly comic, and obsessed with motherhood as a site of horror and absurdity. Alice Englert is mesmerizing.

But The tone whips between grotesque comedy and genuine unease. Some find that unsettling rather than thrilling.

Prevenge poster

We Need to Talk About Kevin2011

Tilda Swinton is magnetic as a mother confronting her complicity in her son's atrocity. It unfolds through fractured timelines, examining love as something more complicated than attachment.

But It demands patience with a difficult woman at the center. The color palette is deliberately punishing. Not cathartic.

We Need to Talk About Kevin poster

Not sure tonight? Get a pick in a minute, starting from Proxy

The wildcard

Something you would not have found on your own.

Come True2020

Both films trust atmosphere and visual language over exposition, forcing viewers into confusion and complicity. Both are interested in how intimacy—or the promise of it—becomes a trap.

A sleep study becomes a gateway to nightmare. Hypnotic, synth-drenched, and experimental—visual abstraction instead of plot. The sound design alone is disturbing. Completely unconventional.

But The narrative collapses by design. Some viewers will feel cheated rather than unsettled. It's an experience rather than a story.

Come True poster
More like this (8)

Martyrs2008

A French-Canadian film about two girls bound by trauma, revenge, and a conspiracy of suffering. It's technically brilliant, morally uncompromising, and questions whether enlightenment justifies cruelty.

But The violence is philosophical but relentless. Many find it punishing rather than profound. Not for casual viewing.

Martyrs poster

A Tale of Two Sisters2003

A haunting South Korean horror that uses visual poetry and color to explore grief and fractured memory. The twist reframes everything. Stunning and deeply sad.

But The pacing is slow and deliberately dreamlike. The horror emerges from atmosphere rather than event. Some find it frustrating rather than scary.

A Tale of Two Sisters poster

The Wailing2016

A Korean mystery-horror that spirals outward into questions of faith, blame, and whether certainty is ever possible. Morally messy, visually restless, genuinely unnerving.

But It's nearly three hours and doesn't resolve neatly. Ambiguity infuriates some viewers. No payoff, only questions.

The Wailing poster

Starry Eyes2014

A Faustian horror about an actress's desperation in Los Angeles. It explores how ambition and vulnerability make us exploitable. Body horror meets psychological breakdown.

But It's nasty in ways that feel punitive toward its protagonist. Hard to watch. The ending is bleak rather than cathartic.

Starry Eyes poster

Destroyer2018

Nicole Kidman as a cop broken by the past, hunting the trauma that fractured her life. It's a slow-burn character study that refuses conventional justice or healing.

But The plot is secondary to the portrait of damage. Narrative comes second. Some find it frustratingly low-key for a revenge story.

Destroyer poster

Dark Water2005

A Japanese psychological horror about a mother and daughter in a decaying apartment haunted by maternal absence. It's quietly devastating and visually assured.

But It's deliberately slow. The horror is existential rather than visceral. Nothing jumps; everything aches.

Dark Water poster

Lamb2021

Both examine parenthood and attachment through the lens of the uncanny. Both feature surrogate figures (biological or otherwise) that unsettle rather than comfort. Both favor mood and implication over explanation.

An Icelandic couple adopt a lamb-human hybrid. Quiet, weird, devastating. It's a fable about desire and substitution disguised as magical realism. Genuinely strange.

But Nothing happens conventionally. The tone is eerie and mournful, not dramatic. The strangeness frustrates as much as it fascinates.

Lamb poster

The Killing of a Sacred Deer2017

Both films weaponize proximity and family structures. Both use support systems and bonds of obligation as instruments of psychological torture. Both refuse to let anyone—character or viewer—off the hook.

Yorgos Lanthimos's surgical study of a surgeon indebted to a strange boy who enters his family like a plague. Pristine, formal, suffocating. Every gesture carries weight.

But The dialogue is stilted and arch. Performances are deliberately robotic. The pacing is glacial. For patience and alienation lovers only.

The Killing of a Sacred Deer poster

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