Alexandre Bustillo and Julien Maury give us another terrifying vision of horror, this time in a dark fantasy like some forgotten fairy tale.
There are tons and tons of disturbing horror movies out there. I’ve seen plenty of them, but the titles on this list are some of my favourites. Not saying these are the most extreme, the most hardcore, I’m not touting these as the most disturbing horror movies you can watch. Simply, I think these are a good dose of movies running the gamut from thematically disturbing to graphically disturbing, to downright weird.
Without further rambling, here are my picks for a bit of wild horror to throw on this Halloween season, if October really has you feeling like you need to test your limits on film.
For my full review and discussion, click here.
The title says it all.
This is probably the strangest erotic horror-thriller you could ever imagine. Even saying erotic horror seems strange, but god damn if this is not full of both horrific and at times erotic imagery.
You could say this is a character study of two people in a relationship and what the ideas of possession mean for both involved.
To say any more would be to truly give things away. Honestly, go in knowing only a very basic plot – a couple falls apart as the wife seems to be having an extra marital affair, which proves to be something far stranger. Just know that when the horror hits you it is going to smash your face into bits, it may even rock you sexually in the worst kind of way imaginable.
Inside (2007)/ Trouble Every Day (2001)
You can be guaranteed that if Beatrice Dalle is in it, I’ll watch it! So here is an excellent Dalle double feature which you can indulge on Halloween to scare the wits out of you.
First up is the 2007 home invasion horror-thriller Inside, directed by Julien Maury and Alexandre Bustillo who also directed 2011’s Livid which was on another list I did for this October. This movie is just all out horror and highly female-centric: on Christmas Eve, a pregnant woman alone at home is attacked by a mysterious woman intent on getting inside the house, as well as inside that belly. If you’re pregnant, you may want to avoid this movie honestly, or if you’re super sensitive. Because this horror escalates, from a mild creep to a roaring scare. Be prepared. Also, this whole movie’s drenched in blood and gory bits. Excellently disturbing stuff!
Second comes auteur director Claire Denis’ version of the cannibal film, Trouble Every Day. Starring Vincent Gallo and Beatrice Dalle, this is the story of sexual cannibalism in humans, as opposed to insects; starting with a husband and wife travelling to Paris for their honeymoon, the husband investigating a strange clinic, and ending with bloody horror. Hard to explain any of the ins and outs, I’d rather not ruin it any more than I already have with this explanation. Either way, Denis is a master filmmaker, someone of whom I’m a huge, huge fan, and this is a really gripping, unsettling movie out of her works. You won’t be sorry. This is disturbing, but it does have a great script held up by a couple solid actors like Gallo and Dalle in particular on whose shoulders the movie ultimately rests.
This is a solid double feature, which really shows off Beatrice Dalle’s talents. Also, it touches on two pretty touchy elements of human nature: pregnancy and sexuality.
The Devils (1971)
For a full review, click here.
Maybe this might not be totally considered horror. Honestly, though, if you don’t find Ken Russell’s The Devils horrific I’m not sure how your brain operates.
Both Oliver Reed and Vanessa Redgrave give terrific, agonizing performances in their own right; Redgrave particularly gives a transcendent performance full of religious fervour and Satanic mania.
If you’re going to see this, you need to be able to see it uncut, in its entirety, as even while the most attainable version out there is pretty wild, the uncut version of this Russell masterpiece is unbridled psychosexual horror in its finest.
Just to give you a taste: there’s a scene known as “The Rape of the Christ”. Craziest part is that this whole film, the story and its plot, is partly based on a real story. Need a nice dose of disturbing religious horror? You found it in Russell.
Three… Extremes (2004)
With three short films in one, this entire anthology only runs around 118 minutes, so you’ve got a great triple feature for the price of one!
Starting off with Dumplings, from Fruit Chan, the Asian horror gets churning with the story of an ageless woman who makes her signature dumplings for other women attempting to capture the elusive fountain of youth and its secrets. Hint: there’s something in the dumplings that ought not be there.
Cut by director Chan-wook Park is the tale of, funny enough, a film director and someone with a grudge. With a trap-like setup surpassing the interest factor of anything Saw ever had to offer, this short is sadistic and incredibly intriguing.
Finally, the short titled Box comes via notorious (and awesome) Japanese director Takashi Miike. I’d like to say a little, but would rather not spoil anything. Let’s just say it involves two sisters who were contortionists, they belonged to a carnival of sorts doing a trick involving a box, and then something bad happened at the carnival. No more, or you’ll know too much! Go in knowing only this: Miike is disturbing, if you’ve not seen his other work you should maybe get ready for a tense ride. Though, each of these shorts has their own test, I find something unsettling about Miike’s approach to stories, like he knows something the rest of us don’t.
Great watch if you don’t mind subtitles. It’s a really disturbing film all over, but Dumplings and Box particularly have always stuck in my mind.
Henry: Portrait of a Serial Killer (1986)/ Tony (2009)
For my full review of Tony, click here.
For a full review of Henry: Portrait of a Serial Killer, click here.
You’ll always hear about John McNaughton’s 1986 shocker when realistic horror is being discussed – raw and savage, Henry: Portrait of a Serial Killer is one of the most unflinching portrayals of serial killers on film. With a central performance rivalling some of the best in horror, Michael Rooker embodies the loose, fictionalization of real life serial killer Henry Lee Lucas; also included is the recently deceased and wonderful Tom Towles as another loose fictional version of Lucas’ actual partner for a time, Ottis Toole. The very brutal and simplistic style McNaughton uses only serves to unsettle the viewer with such an up close and personal view of the inside of a serial killer’s mind and world.
23 years down the road, after the release of the McNaughton cult classic, filmmaker Gerard Johnson gives us Tony – another film loosely based on a real killer (this time it’s British murderer Dennis Nilsen the Kindly Killer), this 2009 dramatic horror follows the titular character, Tony: on the spectrum, he is quiet, shy, lonely, disaffected and disassociated. However, at home, Tony cuts up the bodies of those he kills, draining their blood down the drains and the toilet, putting body parts and organs into plastic bags which he later casually dumps into the Thames. The reason Tony is so chilling, and why it’s a great double feature with McNaughton’s film, is because the movie takes us right behind the eyes of the central character – the at times sympathetic yet horrible killer – and never once do we make our way out of his perspective. At certain moments, the film is a slow burning character study; at others there’s an ominous sense of terror. Either way, you’ll be surprised as the film goes on just how depraved this quiet man in his council flat is deep down underneath his unassuming exterior.
Put these two films on – one American, one British – you’ll get an interesting look at the two sides of one coin. Dive into the darkness of the murderous mind!
The Last House on the Left (1972)
For a full review, click here.
With the lofty goal of making a horror-thriller version of Ingmar Bergman’s The Virgin Spring, itself based on a medieval Swedish ballad, Wes Craven (R.I.P) – at the time a self-professed young and angry man – brought a new style of horror to the screen. There were certainly disturbing movies before 1972, however, Craven effectively brought the ‘rape-revenge film’ to the spotlight with The Last House on the Left.
The first time you see it, something will happen. Regardless whether or not you think Craven’s movie is excellent, mediocre, or not worth the time of day, you cannot deny there is most certainly a lasting impact. After you finish this one, there is a part of you that won’t ever feel the same. I can guarantee you that. Even as, what I’d like to think is, a hardened horror veteran, having seen literally 1,000+ horror movies, there is still consistently something truly disturbing about this one; I own it on Blu ray, though, it doesn’t get played much. Only when I’m looking for a true shock do I throw this on. You may never want to watch it again, but give it one go this Halloween. You may just lock your doors and forget all about the trick or treaters.
For my full review, click here.
You may notice the prevalence of movies based on true stories over the course of this list. And here’s another: based on The Snowtown Murders in Southern Australia, Justin Kurzel’s Snowtown focuses mostly on the budding relationship between serial killer John Bunting and one of the sons of a woman he dated at the time of the killings.
A lot of reviews and comments on the internet have stated they find the movie boring, either it’s too slow all around or they feel as if nothing much spectacular happens over the entire course of the film. I just don’t get that. This is a deep character study, once more akin to the earlier Tony/Henry: Portrait of a Serial Killer, and we not only step inside the perspective of a serial killer, we’re bound to the perspective of Jamie – the son of Bunting’s quasi-girlfriend at the time – who did commit horrific acts alongside Bunting in real life. Here, the character of Jamie is mostly seen as sympathetic, both being abused by his half-brother and manipulated by Bunting, and through him the audience is able to both understand and be horrified at Jamie’s new life. Bunting is played amazingly by Daniel Henshall in what is – as far as I know – his first film role specifically; the performance is subtle and extremely unnerving. The whole movie is very involving, if you can forgive it’s at times slow pace. In the end, you’ll be thankful if looking for a disturbing horror, because this is one that really left its mark on me. I’ve forced myself to watch it a couple times and there are scenes in Snowtown burned into my brain; things I don’t necessarily want to see or think about, yet I’m drawn to, as the dark side of reality truly comes out in Kurzel’s film.
Anyone know AnnaLynne McCord? I didn’t, until this wonderfully macabre and disturbing bit of cinema. When I found out who she was, what she normally looks like, I was immediately impressed with her performance in this film – not only does she do a great job in her role, McCord physically transforms into another person. To say anything much would ruin the surprise, the sick, disgusting joy you’ll eventually take out of seeing all the nasty visuals of Excision come alive before your eyes.
Basically, this is the story of a young girl’s becoming – she is turning into a woman, mentally, physically. Yet the bloody beginnings of womanhood translate into something entirely different for this high school girl. She fantasizes about crimson waves, organs, tortured and mutilated male bodies, and so much more.
I’d never seen this movie, yet picked up the Blu ray because I found the description of the film, as well as its cover art, extremely intriguing. There’s not only disturbing horror here, the screenplay is full of sass, wit, and oodles of black comedy. Plus, John Waters, Ray Wise, and Malcolm McDowell all show up, so how is that not awesome? Choose this if you want to shake up your expectations, just make sure your stomach isn’t weak because a few moments in this movie really pushed my limit and that rarely, if ever, happens. Still, I love it and could actually throw this nasty little shocker on any time.
Grimm Love a.k.a Rohtenburg (2006)
For my full review, click here.
Back once more are we to the reality of killers, the depraved and sick, twisted individuals lurking out in the material world, not simply characters banished to the abstract realm of film and television. 2006’s Rohtenburg (English title: Grimm Love) examines, not using the real names, the case of Armin Meiwes who was arrested in 2002 after police discovered he found a man on the internet, a willing participant, to eat; together, they attempted first to eat his penis together, after which Meiwes killed his companion, quartered him up, ate pieces and stored the rest in his deep freeze.
There’s a romantic aspect to the main characters of the film, mirroring the real life pair – even within all the sickness, the cannibalism, each of them and their intensely depressed states, these two men connected on a level most of humanity will never know. Still, no matter their intentions, no matter their feelings after meeting one another, these two men were fatally damaged, eternally flawed. While there aren’t too many graphic bits here, it’s the emotionality and intensity of the plot which makes things disturbing, very real. If you’re able to handle such a wild ride into some of the more twisted aspects of the damaged human psyche, then I suggest Grimm Love as an interesting way to spend an October evening.
Audition (1999)/ Contracted (2013)
I want to preface this double feature by saying evil comes in all shapes and sizes, all forms, all ways.
The first of two evils is Takashi Miike’s Audition; not surprisingly, Miike shows up twice on this list, first in Three… Extremes. This 1999 psychological-horror starts off with a recent widow looking to start dating again, so with the help of a friend in casting he arranges to interview (or ‘audition’) women to become his new partner. However, after meeting the supposed new woman of his dreams, the man comes to discover she is not whom she appears to be at first. Beginning with a vague romance, this Miike film typically devolves into pure madness, controlled, but madness nonetheless. With some of the most unbearable torture in film history, this is not simply “torture porn” (hate that label; read other reviews to find out why). Rather, Miike brings psychological fear to life – from the fear of meeting someone new, to the thought of losing someone you love and having to start life over again – as well as touches the deepest, most visceral nerve possible in each of us.
From the story of a female torturer, we move to Contracted, starting its vicious and horrific descent into psychological/body horror with a cold and ruthless act committed by – this time – a man. People criticized the marketing of this film because it says “one night stand”, when clearly the young female lead is actually date raped at the start. However, unless I’ve not heard all there is in terms of press, I don’t think it’s intended this is meant as a LITERAL one night stand; merely, the tagline says “Not your average one night stand” in a dark, acidic way. Because once you get into this movie, you’ll realize England is trying to make you uncomfortable. Not simply for uncomfortableness sake: there is legitimate horror here. There are bits of David Cronenberg in here, with all the attention paid to the lead character’s body deteriorating after obviously having contracted a virus from the man who date raped her. Even more than that, I think England makes a few highly poignant points about the male mind, in terms of both the man who raped the film’s lead and the man who pines for the lead’s attention. I won’t spoil anything else.
This double feature is bound to leave you shocked, in awe, and maybe not in any kind of good way. Miike’s Audition came before the golden age of online dating, so I imagine it might touch more nerves today than even when it came out 16 years ago. Moreover, Contracted is the Eric England rape metaphor film we never knew horror could produce (the sequel leaves much to be desired) and while it has things to say the most of its power comes from the cripplingly nauseating visuals. If you want a downright unsettling double feature for Halloween or leading up to the special night, this one may be your Holy Grail.
Sleepaway Camp (1983)
By now, most anyone who is into slasher horror movies, even in the slightest, has definitely heard of the 1983 classic Sleepaway Camp. Not just that, they’ve definitely heard of, or have seen, the outrageous and terrifying twist finale. I will not spoil anything in the way of its big gem.
What I will say is that this movie is one of those genuine ’80s-era slashers which is deserving of its cult following and infamy. It isn’t perfect, nowhere near that, however, I’m a firm believer this is one of those top notch slashers simply because I NEVER ONCE SAW THIS TWIST COMING! I mean, fuck M. Night even on his best twist endings, this one is the RULER OF ALL TWIST ENDINGS. Sorry, I love Memento, I love The Machinist, The Sixth Sense was a whopper in its day, and there are plenty others… but SleepawayfuckingCamp just rocks all of them out of the water. Say no more. Want a good dose of by-the-lake horror and a finale that will haunt your dreams? You’re welcome.
For my full review, click here.
Lars Von Trier is a name you can say in a room and find a hundred different opinions about from just a couple people: some think he’s trash, others (mostly those who’ve only seen his recent two-part Nymphomaniac) say he’s a pornographer, then there are those of us who think he’s full of unbridled, unadulterated genius. Sure, he doesn’t always hit the mark, but what filmmaker ever has? Not a single one in history has made a full catalogue of perfect movies. But Trier, each and every time at bat, steps up and delivers something, at the very least, worthy of endless hours of conversation.
His 2009 film Antichrist is the study of many things: misogyny + misogyny’s affects on womankind, relationship dynamics, parenthood, as well as so much more thematic material. Containing two of the bravest performances I’ve seen in the past 10 years, both Willem Dafoe and Charlotte Gainsbourg are captivating. Most of this movie touches on subject matter and themes many will find, in moments, almost reprehensible – from genital mutilation on the part of men and women, to the death of a child while his parents have sex. It isn’t all provocation and in your face, nasty horror, Von Trier touches at the heart of issues in all his films, whether people wish to recognize it or not. No matter what, Antichrist will pull you in, chew you up, then spit you out. Then lap you up and chew some more until all the grizzle of your brain is digested. You may never ever forget these 108 minutes, no matter how hard you scrub that grey matter.
If you weren’t sufficiently disturbed and left sleepless by Lars Von Trier, I present to you the final offering of my list: Fabrice Du Welz’s 2004 psychological horror-thriller, Calvaire.
The movie follows a struggling entertainer, a singer named Marc, whose latest and slightly sad tour takes him out into the backwoods of Belgium. When he breaks down, Marc comes across an inn through the woods, owned and operated by a Mr. Bartel, the seemingly friendly and welcoming host. After the first night, though, Marc discovers Bartel is not as friendly as once it seemed – the man first stalls on fixing Marc’s vehicle like he promised, then when he tears the battery out and other parts, it’s very clear Bartel is up to something more sinister. Trapped at the inn, Marc’s journey falls quickly into a darkness he could never have anticipated, not in a million years, and the stay at Bartel’s inn transforms into a fight for survival.
This is another one I purchased blind on DVD, not knowing anything more than the description and reading a couple reviews online, as well as based on the neat cover art. When I first saw this, I was completely floored and still, even when I’m in the right mood, Calvaire is full of uneasy moments. There’s a slow burn quality to this one and things don’t jump right out, often the pace is snail-like, yet if you can make it through and continue to watch up to the end of the finale. you’ll be well rewarded in terms of disturbed emotions. And after all, that’s why you came to this list, right? Welz’s shocking psycho-horror is full of chills, thrills, and unwanted uncomfortableness. Watch, but only if you dare.
Here ends another list for the Halloween season! I hope those of you who’ve come to find something fittingly full of shocks and super nasty will walk away satisfied. I’m sure many horror hounds have at least heard of all these, most likely they’ve also seen them, too. If you’ve got any of your own suggestions, at 4,100 films watched it may have been something I’ve already seen – regardless, I want to know what everyone else finds disturbing and what you’re watching to get the creepy October-Halloween vibe happening. Let me know in the comments what you think of the list, or if you have suggestions for other nasties I should include in my own viewing list this season.
Les Salauds (English title: Bastards). 2013. Dir. Claire Denis. Screenplay by Denis & Jean-Pol Fargeau.
Starring Vincent Lindon and Chiara Mastroianni. Wild Bunch.
Unrated. 100 minutes.
Marco (Lindon) is a sailor. A well-known one at that. He’s long cut off any ties with his family. After his brother-in-law commits suicide, Marco’s sister asks him to come help take care of the man who is responsible- a man named Edouard Laporte (who looks creepily like the last pope, the scary German one). So Marco gets an apartment in the city to start investigating things himself. Soon, he begins having a sexual relationship with Laporte’s wife (Mastroianni). Not long after this the real doozy events start piling up.
First is the shocking revelation Marco discovers from his niece’s doctor: her vagina is so badly damaged they need to do reconstructive surgery on it in the near future to have any chance at repairing it. I hesitate to say anything further. Shortly after, Marco thinks he has the truth. Unfortunately for him, and his niece, things are not at all what they seem. For those who’ve experienced the work of Claire Denis before now, Bastards pretty much sits right on par with her most disturbing, unnerving work. Though Trouble Every Day is my favourite film of hers personally, this one comes into the top few numbers.
Denis focuses many of her films around violence, however, it’s not often she indulges the imagery in full force. Much of the imagery she chooses to use, while disturbing, is usually subtle, subdued. Denis understands the less is sometimes more. Certainly, when dealing with rape, and particularly here in Bastards a really vile sort (if you can imagine categorizing such a thing by its level of heinousness), it’s easier to let the audience conjure up their own, often more personal, images of these things. That eats at the core of an audience more than anything, even if they don’t realize it themselves. Denis does this in Bastards.
In particular, one specific image dominates the entire film. It happens just before the 45-minute mark, as Marco is shown around what looks to be an apparent backwoods porn studio of sorts, which caters to people who like to ‘do their own thing’. First, we’re treated to some horribly candid shots – cumshots. Denis lingers on Marco as he eyes the filth in thie place. Then, on the floor, Marco sees something. Something which I, on the first viewing, had to rewind just to see. I couldn’t believe it. I knew, knowing Denis and her work, this would probably end up being disturbing, or shocking in some sort of way. But I was definitely surprised, and sufficiently disturbed, once I saw what Marco saw himself. I won’t reveal it – let’s just say, he leaves with more knowledge and more anger than when he’d walked in there. Also, it calls to mind the novel Sanctuary by William Faulkner.
There’s another moment when Marco’s niece runs away from the hospital that really gets me. It isn’t graphic so much as it’s there, present, in your face, while Denis shows it to us in shadowy darkness, as if to say “imagine what else you can’t see right now”. We get glimpses of the niece and her vicious injuries, but only in tiny snapshots, barely enough to really register. Maybe that’s a good thing. The story is not for everyone. It’s not graphic visually, but once you put the pieces together behind the plot you really bite your fist a bit. And not in a good way. It will make you cringe. I feel I’m desensitized, mainly that’s as far as horror imagery goes. When it comes to subject matter there are still things which really bother me. For instance, rape, and even worse the rape of a minor. There are tough bits in here. Then of course the finale really blows your top off. And not in a good way.
The final shot is beautiful, dark, disturbing, and Denis sets it to a Tindersticks cover of Hot Chocolate’s “Put Your Love In Me” – this will haunt me to the end of my days. The song itself is haunting, but coupled with the images Denis shows while it plays, just long enough before the credits eventually cut in to roll, this is absolutely crushing. It is amazing. Yet a terribly powerful moment that really had an effect on me. The way it’s shot, the music, what’s actually happening in the scene – remarkable. Possibly my favourite part, although highly unsettling, in the entire film. Denis is a master of her craft.
If you’re not into disturbing subject matter, if you can’t enjoy a plot laden with both sex and some graphic themes centered on sexual violence, then I suggest you take a pass on Denis’ Bastards. This is a challenging film. There are even bits you might feel a little conflicted towards. Marco’s relationship with Laporte’s wife gets into some very deep and murky territory at points. The ending of the film got to me, I must say. For me, the film was wonderful.
I dig the way Denis approaches tough subject matter. I also admire her talent as a director. There are very beautiful shots here amongst all of the misery in Bastards. It isn’t all a pit of despair. Not only that, but Denis always manages to find a good performance. From the likes of Beatrice Dalle and Vincent Gallo to her regular work with Alex Descas (here as the doctor to Marco’s niece), there is always great work in her films. Here, Vincent Lindon really does a phenomenal job as the male lead. He is a bit mysterious, even dangerous. He’s got a bit of dirty side to him. Nowhere near as dirty as the people he investigates during his own little trip into the underworld, in search of whoever it was that hurt his niece. His performance really carries a film that could easily be dragged down by its intense and disturbing subject matter.
All in all I have to give this film a 4.5 out of 5 stars. It’s a fantastic, yet grim, work by Claire Denis. She continues to make challenging films. Most of her work is not easy, and maybe not totally accessible. But when you sit through one of them and really absorb things, they get under your skin. Denis has caused many nights of wondering for me, particularly with her film
Trouble Every Day, as I mentioned earlier being my favourite work of hers. Bastards is almost neck and neck with that one. Hard to choose between. Very different, but also both very amazing pieces of work. The only reason I don’t give Bastards a full 5 star rating is because I wish there was a little more SOMETHING to it. I’m not sure what that something is, but I just know there’s a tiny little bit of something, whatever it may be, missing from this film. Not that it detracts from the rest of it. I was just left wanting more at the end. Not in a way that excited me, but a small disappointment, as if I’d been waiting for one other thing to leap out at me. Regardless of that, I think Bastards is well worth watching. Not only is it challenging, it’s just a well-written and well-acted film. Denis’ films are all visually interesting, no matter what their subject. This is no exception to that rule. If you’re ready for something fairly dark and stormy some night, pick up a copy of Bastards, and you won’t regret it even if the story is tough to chew at times.
But one thing’s for certain – don’t count on the ending to cheer you up and band-aid those emotional cuts and bruises. It’ll only beat you up some more.