 | Drag Me to Hell 2009 A grotesque descent into moral abyss disguised as supernatural horror.
Drag Me to Hell is not just a horror film: it's a cruel parable about judgment and guilt wearing the grotesque mask of a curse. Sam Raimi, with his unmistakable blend of the absurd and the disturbing, crafts a work that crawls under your skin—not because of its demons, but because of the unsettling doubt it leaves behind: how much evil can a good person do to get what they want?
The film walks a fine line between genuine terror and deliberately exaggerated farce. The special effects, intentionally old-school at times, harken back to the cult classic Evil... Read More |
 | Doll house 2025 A Domestic Nightmare of Aesthetics and Anxiety
In the landscape of contemporary Japanese cinema, Dollhouse by Yaguchi Shinobu stands out as a film that defies the conventions of the psychological thriller, blending the unease of a dark fairytale with the visual delicacy of an intimate drama.
Shinobu’s direction is elegant and restrained, yet deeply effective in evoking discomfort through minute details: the cold lighting of the interiors, the symmetrical composition of the shots, the doll’s blank stare that seems to judge, observe — perhaps even understand more than the protagonist herself. The lead actress delivers a... Read More |
 | The Woman in Black 2012 There are films that scare you while you watch them. The Woman in Black haunts you afterwards. It’s not just fleeting apparitions or sounds in the mist—it’s a sense of inescapable death that clings to you, a cold that doesn’t fade with daylight.
This film doesn’t seek shock. It seeks obsession. It creeps in slowly, like fog that seeps into your bones and never leaves. When the credits roll, one malignant doubt remains: what if she’s still with you, now, behind the screen? Motionless. Patient. Waiting. |
 | Thirst 2009 Thirst, directed by the South Korean master Park Chan-wook, is a bold and disturbing cinematic work that blends existential drama with gothic horror in a visually striking and morally complex way. Loosely inspired by Émile Zola's novel Thérèse Raquin, the film reinterprets the original story with a decidedly modern and subversive erotic and spiritual charge.
Park Chan-wook masterfully uses cinematic language: elegant framing, hypnotic use of color, and violent contrasts between the sacred and the profane. The direction is refined, never indulgent. Blood—a recurring element—is never gratuitous, but takes on symbolic meaning,... Read More |
 | Nightbitch 2024 When Motherhood Bites… Literally
If you’ve ever wondered what would happen if maternal frustration merged with animal instinct and a pinch of suburban werewolf lore, Nightbitch is the cinematic answer you never knew you needed.
Rachel—played by Amy Adams, who finally seems to be enjoying not being liked (not even by herself)—is a stay-at-home mom who, somewhere between diapers and organic carrot purée, begins to suspect she’s turning into a dog. Yes, a dog. Literally. But make it fashion.
The film—based on Rachel Yoder’s novel—is a surreal, furious manifesto on modern motherhood, swaying between domestic horror and social... Read More |
 | The Autopsy of Jane Doe 2016 The Autopsy of Jane Doe is a small gem of contemporary horror cinema, a film that manages to combine classic suspense with an intelligent use of the supernatural. Directed by Norwegian filmmaker André Øvredal, the film sits halfway between forensic thriller and occult nightmare, maintaining a claustrophobic and refined tension throughout most of its runtime.
The story unfolds almost entirely in a morgue, where a father and son (Brian Cox and Emile Hirsch, both in top form) are tasked with examining the body of a young woman found mysteriously intact at a scene of brutal carnage. It is precisely the paradox between the apparent... Read More |
