Film
The Executioners
A home-invasion revenge thriller that pivots brutally from victim to perpetrator. Four women endure a violent assault in a locked mansion, then turn the tables with methodical cruelty. It's stripped-down and punishing—no heroic fantasy, just damage and the hunger for payback. For viewers who want their revenge unvarnished and morally compromised.
If you liked this
Prevenge2017
A pregnant woman hunts down the men responsible for her condition with darkly comic precision. Sharp, strange, and anchored by a genuinely disturbing performance from Alice Lowe.
But The tone lurches between horror and absurdism in ways that feel deliberately alienating. Some viewers will find it trying too hard to be clever.

Day of the Woman1978
The blueprint for violent female revenge. A woman systematically murders the men who gang-raped her. It's unflinching and deliberately ugly—unforgettable if you can sit with it.
But The assault sequence is graphic and prolonged. The film uses revulsion as its primary tool, which means enduring real discomfort to reach the other side.

Raw2017
A vegetarian cannibal awakens in a young woman during university. It's visceral body horror with genuine character and a filmmaker absolutely in control. Justine Triet understands transgression.
But The cannibalism imagery is explicit and constant. If gore makes you squeamish rather than thoughtful, this will just be unpleasant.

Not sure tonight? Get a pick in a minute, starting from The Executioners
The wildcard
Something you would not have found on your own.
The Night of the Hunter1955
Both center on the hunter becoming the hunted through moral inversion. Both use the body as a map of damage. The register differs—Laughton works in shadow and archetype; The Executioners works in immediate flesh—but the architecture is kin.
A corrupt preacher hunts children through nightmare landscape. Charles Laughton's only directorial effort is pure visual nightmarell; Mitchum is evil incarnate. The revenge isn't frontloaded—it's the entire film's structure.
But Released in 1955, it's in black-and-white and moves with theatrical deliberation. Modern viewers sometimes find the pacing meditative to the point of sleep.

More like this (8)
Martyrs2008
A relentless French-Canadian masterpiece about trauma, cycles of violence, and the derangement that suffering creates. Morally unstable in the way only truly brave cinema is.
But Genuinely brutal. Not shock-value—genuine. If you're looking for catharsis, the film actively denies it to you, and some viewers will feel punished rather than moved.

You Were Never Really Here2017
Joaquin Phoenix as a traumatized fixer who brutalizes predators while drowning in his own damage. Lynchian, claustrophobic, and hypnotic. Ariel Vromen doesn't let you look away from his anguish.
But Narratively fractured and deliberately obscure. If you need plot clarity and forward momentum, you'll find this maddening rather than engaging.

Promising Young Woman2020
A woman enacts careful, calculated revenge on the men who enabled her friend's assault. It's a Trojan horse—morally complicated, stylish, and far more ambitious than it first appears.
But The ending divides people sharply. Some find it gutsy; others feel it betrays its own premise. You may feel one of those very strongly.

Revenge2017
A woman left for dead returns as a vengeful force. Visually striking and surprisingly emotional beneath the brutality. Coralie Fargeat crafts something that feels both primal and artistic.
But Narrative takes a back seat to atmosphere and spectacle. If you need plot momentum and character development, the film can feel repetitive and thin.

The Wailing2016
A Korean thriller that spirals from murder into theological dread. Multiple perspectives collide; nothing settles. Na Hong-jin creates the sensation of losing ground beneath your feet.
But Nearly three hours, relentlessly ambiguous, and the final implications are deeply unsettling in ways the film never resolves. Patience and comfort with uncertainty required.

Goodnight Mommy2015
Austrian body horror about twins and a mother after facial reconstruction. Visually stunning and deeply wrong in ways that linger. A genuine original in the revenge-trauma space.
But The twist is brutal, and the film's sensibility is cold enough to keep emotional distance. It can feel clinical rather than cathartic.

Bone Tomahawk2015
Both films believe that violence has weight and consequence. Both refuse the cathartic fantasy. The revenge or rescue doesn't feel like victory; it feels like more damage.
A western that bleeds into visceral horror. A band of men ride into desert violence seeking captives. S. Craig Zahler builds unbearable tension and then follows through with it.
But Deliberately paced. The violence, when it comes, is shocking—not for shock's sake but as logical conclusion. Some viewers will feel manipulated into enduring cruelty.

Kill Boksoon2023
Rotting-from-inside damage made flesh. The protagonist doesn't heal through revenge—she's already ruined. Both films understand that violence isn't catharsis; it's the shape of a specific kind of broken person.
A South Korean assassin grapples with aging, obsolescence, and the young killer replacing her. Operatic and brutal, funny and heartbreaking. Lee Jae-kyoo makes violence personal and funny in ways that shouldn't coexist.
But Tonal whiplash. It swings between dark comedy and genuine pathos. If you need a consistent register, it will feel like it doesn't know what it is.

People
Cast
Natalie BurnKay
Jemma DallenderBelle
Rachel RosensteinAngela
Anna ShieldsLory
Justin FischerDavid
Anthony BelevtsovMr. Black
Michael SantiMr. Red
Fernando Soto Jr.Mr. Blue
John HardyBelle's Father
Directing
- Giorgio SerafiniDirector
Writing
- Giorgio SerafiniScreenplay
Production
- Alessia Caruso JohnsonProduction Manager