Film
The Woman
- Horror
- Very dark
A lawyer traps a feral woman from a violent clan, convinced he can civilize her through brutal 'rehabilitation.' Instead, his entire family and worldview fracture. This is serious, deeply uncomfortable horror about control, masculinity and civilization—not a creature-feature, but a moral and physical descent into darkness. For viewers ready to be disturbed.
Should you watch it?
Watch it if you want a bleak, unsparing horror where the cruelty comes from a respectable household, and you can sit with characters who think they are doing right.
Skip it if you need likable people to root for or a clear moral footing, since nearly everyone here is hard to warm to and the mood stays punishing.
What it asks of you: It runs a little under two hours and lets scenes of quiet domestic unpleasantness sit long before they turn violent, so bring patience and a strong stomach.
Not sure? Find tonight's pick in a minute.
If you liked this
You're Next2013
A home-invasion thriller that subverts its own genre through intelligence and dark humour. The violence feels earned and the protagonist surprising. Peak tension and genuine surprises in the third act.
But It pivots away from straight horror into something smarter and wittier than you might expect from the premise, which some find tonal whiplash.

Martyrs2008
French extreme horror that grapples with suffering, faith and whether enlightenment justifies agony. Visually stunning despite its violence. Genuinely philosophy-adjacent in its commitment to an idea.
But This goes places that test your tolerance; it's not shocking for shock value, but it's relentless and ends on a note of deliberate ambiguity that won't comfort you.

The Killing2011
Danish noir where you see the same story refracted through cop, victim's family, and suspect. Methodical and absorbing. Each season builds a complete murder investigation that respects your intelligence.
But It's slow—deliberately so. If you need constant action or a tidy resolution, the pace will feel punishing. Subtitles too, if that matters.

Not sure tonight? Get a pick in a minute, starting from The Woman
The wildcard
Something you would not have found on your own.
American Psycho2000
Both centre on attempts to 'civilize' or control the uncontrollable. Both argue that violence isn't aberrant but embedded in how we organize power and gender—the difference is *The Woman* never lets you laugh or distance yourself from that truth.
A Manhattan investment banker narrates his increasingly baroque violence with casual horror. Dark comedy about masculine performance, consumerism and control. Exceeds its source material through Mary Harron's direction and Christian Bale's commitment to the role's comedy.
But It's savage satire wrapped in surface glamour—some read it as endorsing what it's mocking. The violence is visceral and frequently sexual. Demands you stay a step ahead.

More like this (8)
Raw2017
A young veterinary student discovers she's a cannibal. Surreal, visually precise, and uses body horror to explore appetite, repression and womanhood. Genuinely unsettling without being exploitative.
But The body horror is visceral and specific. If you're squeamish about practical effects or sexual violence, this will find your limit.

Come True2020
A homeless teenager joins a sleep study; reality warps. Hypnotic, synth-soaked, visually dazzling. It trusts you to sit with strangeness and dread without spelling anything out.
But Plot takes a backseat to atmosphere and visual storytelling. If you need narrative clarity or conventional scares, you'll find this frustratingly oblique.

Funny Games2008
A family held hostage by two polite young men. Haneke's English-language remake strips away all catharsis and forces you to confront what violence-entertainment actually does to you as a viewer.
But It's deliberately, almost pedagogically unpleasant. It wants you uncomfortable with yourself for watching. Some find that alienating rather than illuminating.

The Witch2016
A Puritan family unravels—whether from actual witchcraft or paranoia is left beautifully ambiguous. Craft in every frame, authentic period language, and genuine evil, whether human or supernatural.
But It's sparse and slow. The horror is more creeping dread than spectacle. If you want jump scares or clear answers, you'll be impatient.

Goodnight Mommy2015
Austrian body-horror about twin boys and their mother's mysterious post-surgery transformation. Formally precise, genuinely disturbing, and the twist lands with the weight of actual tragedy.
But The violence feels personal and specific in ways that can be harder to distance from than generic gore. It earns every unsettling moment.

Under the Skin2014
Scarlett Johansson as an alien predator in Glasgow. Hypnotic, strange, deliberately paced. Asks what desire and hunger are when stripped of human context. Visually extraordinary.
But It's avant-garde sci-fi that often feels more like a mood than a narrative. If you need plot momentum or conventional character development, this will feel like watching paint dry.

The Babadook2014
Both films use the home as a pressure cooker where control collapses. Both ask what happens when someone tries to impose order on pain or wildness. Both centre female figures as the source of chaos that undoes masculine systems.
An Australian grief-horror where a widow and her son face a creature that might be supernatural or might be their trauma. Tight, affecting, with layers that unfold on rewatching. Genuinely about maternal exhaustion and rage.
But It's restrained and elliptical rather than explicit. If you came for creature design, you'll be disappointed. The real horror is psychological and domestic.

Possession1981
Both films treat the body as a record of violence and refuse the comfort of explanation. Neither cares if you sympathize with anyone. Both argue that confinement—whether literal captivity or marriage—breeds monstrosity in everyone.
A divorced couple in cold-war Berlin descend into psychological and physical obsession, haunted by something that may be demonic or may be their marriage. Surreal, graphic, and uncompromising—Zulawski directs like someone exorcising a demon. No other film quite looks or feels like this.
But It's deliberately incoherent in service of emotional truth. The body horror is extreme and sexual. If you need clarity or comfort, or if visceral practical effects trouble you, this will feel like an ordeal.

People
Cast
Pollyanna McIntoshThe Woman
Sean BridgersChris Cleek
Angela BettisBelle Cleek
Lauren Ashley CarterPeggy Cleek
Zach RandBrian
Shyla MolhusenDarlin' Cleek
Carlee BakerMiss Genevieve Raton- Shana BarryFat Tourist Girl - Cartoon
Marcia BennettDeana- Chris KrzykowshiRoger
Alexa MarciglianoSocket- Toomy NelsonWalter
Directing
- Lucky McKeeDirector
- Josh GarrellFirst Assistant Director
- Friday SavathphouneScript Supervisor
- Elaine Marie GibsonSecond Assistant Director
Writing
- Jack KetchumNovel
- Lucky McKeeNovel
- Jack KetchumWriter
- Lucky McKeeWriter
Production
- Josh GarrellAssociate Producer
- Lluis Fe PerezAssociate Producer
- Cindi RushCasting
- Russell DinsteinCo-Executive Producer
- Robert D. KrzykowskiCo-Producer
- Albert PodellExecutive Producer
- Arrien SchiltkampExecutive Producer
- Frank OlsenExecutive Producer
- Loren SemmensExecutive Producer
- Elaine Marie GibsonLine Producer
- Andrew van den HoutenProducer
- Robert ToninoProducer
- Josh GarrellUnit Production Manager
Recommended by
Walking Tall, Fatma, Nancy, The Devil's Candy, God's Country, Lipstick, The Clinic