For those who have wondered what the human body is capable of, whether there are limits to flesh and bones, and whether humanity can exist outside its mortal cage, there is a subgenre for you. Body horror is one of the most disgusting materials ever filmed in films, and does it with a strong message for all the blood.
Body horror is best codified by the works of director David Cronenberg, whose name is now inseparable from the genre. Although he has recently returned to the subgenre after a couple of decades of absence, there are many other interesting and unique creators who still maintain internal nightmares.
Who else can carry the disgusting fleshy torch from David Cronenberg, if not his son Brandon? This 2020 horror thriller has one of the best horror presuppositions in recent times, and it still manages to do its best in execution. Andrea Riseborough plays Tasia Vos, a murderer who does her grim job by forcibly seizing the mind of an innocent bystander and using his body to kill his target. The work takes a heavy toll on her ability to maintain her identity as she struggles to separate her life and that of her victim. When she takes on a well-known task, because of which she stays in someone else’s head for too long, the walls begin to collapse, and all participants are in danger. This is one of the most disturbing films released in recent times, with an approach to violence that makes the viewer’s blood run cold. “The Lord” is a special film that sticks in the mind of the audience, whether they want it or not.
Despite the fact that Julia Ducourneau currently has only two roles, Julia Ducourneau has established herself as one of the best directors in the body horror genre. Her 2016 theatrical debut Raw was a masterful immersion in a concept that combined a truly exciting provocation with a shocking level of intelligence. Her sequel to “Titan” 2021 is one of the strangest and strongest horror films of the last decade. The plot of the film is messy and unearthly, but the tone and atmosphere control the narrative without any problems. Some images will make viewers leave the room complaining, but it’s a wild ride for those who can stomach it. In some films, behind all the violence and sex there is a heart, the Titans’ heart is entangled in it. The film just needs to be seen to be believed.
Before they joined the MCU, Justin Benson and Aaron Moorhead made a name for themselves by creating stellar low-budget horror films. The Endless and Resolution are great, genre fans can only hope that the duo will find time to create more work in their original home genre between big comic book projects. In the duo’s second feature film, Lou Taylor Pucci plays Evan, a man who has been shaken by a personal tragedy. When his home life collapses, Evan follows a friend’s advice and takes the first cheap flight abroad that he can book. He finds himself in Italy and immediately finds himself fascinated by Louise, a gorgeous and intelligent woman. Their courtship is sweet, backed up by a great performance by Pucci and Nadia Hilker. However, as the plot progresses, it becomes clear that Louise is keeping a secret that threatens not only their nascent romance. Spring doesn’t have the budget of some other big-body horror movies, but she finds a way to stay obsessive, disgusting and sincere, which many other movies can’t. Many horror films about the body end up feeling detached, even cold, but even the most unpleasant parts of spring are warm.
Jane Doe’s Autopsy
The real medical science of autopsy is a kind of necessary evil that turns many people away from this field. The terrible truth is that sometimes a corpse has to be opened to answer some very important questions, and very experienced professionals are needed to do this work. However, in horror movies, this is one of the most unpleasant concepts imaginable. Andre Ovredal’s 2016 film adds a supernatural twist to the horror of cold dead flesh to create something clever, creepy and sinister. There is absolutely no fat in the 86th minute of The Jane Doe Autopsy, and it takes viewers on a short journey through truly imaginary nightmares.
Under the skin
Jonathan Glazer’s 2013 film is not exactly belonging to the body horror genre, it is rather an icy sci-fi drama with two or three scenes of body horror. The film deserves a place among the subgenres for two reasons. He plays with many of the same themes inherent in body horror, and his few moments surpass many works of this genre. Scarlett Johansson plays an alien who tries to live a life she can’t understand and preys on men who instantly fall in love with her. Johansson is flawless in this role, but the real star is the stunning feeling of the otherworldly atmosphere of the film.