By Sharai Bohannon

One of the things I notice about horror discourse online is that it is almost always focused on white guys. Sure, some white dudes make some cool things. However, genre filmmakers, much like genre fans, are a diverse group of people. Where are all of the Korean horror filmmakers when people name their favorites online? Where are all of the Brown directors not named Guillermo del Toro in these filmbro circles? Another thing that salts my tines about these lists, trends, etc. is that they usually exclude women. As if Nia DaCosta, Karyn Kusama, Kasi Lemmons, and Zoë Kravitz are not sitting right there, to name a few. This lack of intersectionality and inclusion is so much louder during months that are supposed to highlight the inequity in the industry. Women in Horror Month almost always becomes an exclusively white and American affair. Which is why I am highlighting some international horror made by women. I think it’s important we help each other do better, and we might as well start today.

Atlantics (dir. Mati Diop)

Dakar construction workers who have not been paid in months decide to leave their country by ocean. They return to haunt loved ones, including their lovers, who have been forced to move on. Mati Diop helmed a beautiful tale of love, loss, and supernatural forces. If you have been searching for new romantic ghost stories, then this France, Senegal, and Belgium co-production might be your girl. It is beautiful, endearing, and unafraid to say what it means. This movie is a vibe, and we are all welcome.

Fatal Frame (dir. Mari Asato)

A series of deaths connected to a cursed picture plague an all-girls school. Based on the wildly popular and fantastic video game of the same name, Fatal Frame is a creepy little diddy that you may have forgotten was directed by a woman. Mari Asato reentered the J-Horror chat with this film told from multiple points of view on an unflinching journey for the truth. This movie deserves your attention if you can catch it on the streaming streets. Do it for your inner gamer and that inner kid who longs to be unsettled. 

Huesera: The Bone Woman (dir. Michelle Garza Cervera)

A pregnant woman begins to wonder whose dream it really was to have a child when supernatural forces start to haunt her. I know I just wrote about Huesera: The Bone Woman and should shut up already. However, this Mexican Shudder movie about motherhood is one of the few mom horrors that have stayed with me. Huesera gets the sacrifices that come with becoming a mother and celebrates that it’s not for everyone. It also made Michelle Garza Cervera a filmmaker I need to keep an eye on.

Medusa (dir. Anita Rocha da Silveira)

A gang of young women fights for control by roaming the streets and beating women who do not share their values. This Brazilian gem is a feminist, fury-filled film that gives you a lot to chew on. Anita Rocha da Silveira captures the frustrations of being a “good girl” even when everything in you is telling you your community is wrong. This fantasy horror has a couple of chuckles that stand out, but mostly lives rent-free in my mind for the amount of rage on display. The anger is directed at many targets, not just the women they are beating up, and threatens to spill over until the very end. This is a Medusa-inspired tale for our times, kids. It is punk, smart, and a whole mood.

Relic (dir. Natalie Erika James)

A woman and her daughter go to her childhood home to help her elderly mother, who is suffering from dementia. However, they soon realize her mother is battling something supernatural. Australian horror almost always hits, but I clap louder when it’s directed by a woman of color. This psychological horror film is haunting, chilling, and a pretty solid first feature for Natalie Erika James. The dread boiling on the front burner of this banger is the reason you cannot look away. Instead of leaning into the usual horror trappings, it goes for a more intimate terror that is harder to shake off. It’s like a stain on the brain that forces you to think about your (and your parents’) mortality. 

Slash/Back (dir. Nyla Innuksuk)

A ragtag group of kids must fight an alien invasion in their arctic hamlet using horror knowledge and handmade weapons. Did you think I wouldn’t include this Canadian Inuit science fiction flick on a list of international women doing the good work? I would join Nyla Innuksuk’s girl gang, and you will want to as well. There are not nearly enough of these types of films with young girls. How many times must we suffer through a group of boys fighting monsters before we admit we’ve seen that movie to death? It was so refreshing to see ladies having fun and battling aliens as a squad. We need more of this, and we need it now.

Tiger Stripes (dir. Amanda Nell Eu)

A young girl is the first of her friends to get her period. This leads to a world of self-discovery as her body changes and her community turns against her. This is the kind of period horror we need more of. Tiger Stripes is cute, vicious, and unique in so many ways that make me wish I had this kind of movie when I was growing up. Amanda Nell Eu’s juxtaposition of body horror and puberty hits better than most for me. It’s a beautifully executed film that captures that awkward era where most of us are working through body image issues and shame. 

Tigers Are Not Afraid (dir. Issa López)

A girl joins a gang of street children after her mother disappears. Issa López did not come to play. Tigers Are Not Afraid is not the typical horror fare because it’s here to collect your tears. The imagery, the magical realism, and yes, the feelings are worth the journey, though. This is Mexican cinema that will break you, and that’s okay. If I can cry, then we all can. I don’t think I have ever seen another dark fairy tale dive into drug wars, violence, and the children left behind. This movie is the reason I leapt onto López’s fan wagon, and she hasn’t let me down yet. Do yourself a favor and watch this under a weighted blanket with a lot of tissues on hand. Maybe have some comfort foods readily available, too.

Titane (dir. Julia Ducournau)

Unsolved crimes and the alleged return of a missing son coincide in this Julia Ducournau joint. It’s hard for me to think of French genre films and not think of Ducournau. Her work is unflinching, messy, and unique. If you thought Raw was a fluke, then be prepared to drink some motor oil after watching this. Titane is a vibe that is unmatched. Tetsuo: The Iron Man crawled so this movie could fuck a car. It’s sci-fi, stylish, mysterious, dangerous, emotional, and very sex positive as it taps a couple of the letters in LGBTQIA+. You might never look at a car the same way again, but this ride is worth it.

The Uninvited (dir. Lee Soo-yeon)

A man begins to see two dead girls and finds a woman who can also see them. I love South Korean genre films like most people love their kids. However, Americans gravitate towards male directors, so a couple of years ago, I made it my business to find some ladies. Luckily, Lee Soo-yeon has a few under her belt, including this psychological horror exploring themes like guilt and anxiety. It’s twisty and turny and a surprisingly clever journey. This is a tangled web that takes the audience on an upsetting journey. If you dig this, catch Lee Soo-yeon’s Bluebeard, which will also disrupt your peace and leave you stressed.

Watcher (dir. Chloe Okuno)

A woman moves to Bucharest with her husband and discovers a serial killer might be living too close to home. This unsettling Shudder sleeper might be Maika Monroe’s best movie. However, a huge reason it works is that Chloe Okuno captures what it’s like to be a woman no one believes. The isolation, gaslighting, and fear are palpable even before we find out how far this stalker will go to silence our lead. Watcher is a sophisticated throwback to 1970s chillers and has style for days.

Confession: Watcher is also kind of a cheat because it’s a United Arab Emirates, United States, and Romania co-production, and Okuno is an American filmmaker. You need to watch it, though, and this list is a great excuse to remind you to hit play.

I hope you all seek these titles out. I hope you sit with them after the credits finish and think of them the next time you see a bunch of the usual suspects being listed as masters of horror. If you ask me, a lot of the greats are women who just aren’t getting the support and respect they deserve.