Film

The Woman

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.

TMDb rating3.0

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.

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.

You're Next poster

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.

Martyrs poster

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.

The Killing poster

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.

American Psycho poster
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.

Raw poster

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.

Come True poster

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.

Funny Games poster

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.

The Witch poster

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.

Goodnight Mommy poster

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.

Under the Skin poster

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.

The Babadook poster

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.

Possession poster

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