A Chinese Ghost Story
A tax collector shelters in a haunted temple and falls in love with a ghost enslaved by a tree demon with a very long tongue.
1968 onward · 50 films
Isolated community, old belief, and an outsider who does not understand the calendar.
Folk horror is the fastest-growing category on this site and the most loosely defined. The working definition: a community isolated by geography, holding to a belief system that predates the one the protagonist assumes is universal, and a landscape that is complicit.
The term was popularised by Mark Gatiss in a 2010 BBC documentary, describing three British films made within five years: Witchfinder General (1968), The Blood on Satan's Claw (1971) and The Wicker Man (1973). Piers Haggard, who directed the second of them, had used the phrase in the 1970s.
All three are rural, all three are about old belief resurfacing, and all three are shot in daylight.
The best of them, and a film that survived its own production. British Lion changed hands during post, the new management hated it, and it was cut to 87 minutes and released as the bottom half of a double bill under Don't Look Now. The negative trims were reportedly buried under the M3. Every longer version since has been assembled from prints of varying quality.
It is a musical, which people forget. Christopher Lee did it for nothing and called it his best film.
What separates folk horror from a village-set thriller is that the land is on the community's side. Standing stones, hills, fields at harvest. The camera treats the terrain as an active party.
The Witch (2015), Midsommar (2019) and Men (2022) restarted it commercially. Midsommar runs the formula in constant daylight and is the clearest modern statement of the shape: an outsider, a calendar she does not understand, and a community being perfectly hospitable throughout.
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A tax collector shelters in a haunted temple and falls in love with a ghost enslaved by a tree demon with a very long tongue.
Deserters in the English Civil War eat mushrooms and dig for treasure while reality dissolves. Shot in black and white in twelve days.
Gareth Evans doing folk horror with the fight choreography left in. Much nastier than expected.
Brazil's first horror film, made by a man who invented himself as a character and played him for fifty years.
A Danish-Jewish folk horror about a dybbuk, a mother, and a relationship the mother will not permit.
A near-wordless survival film in a post-apocalypse where a cult has cut out their own tongues.
A Swedish customs officer who can smell guilt meets a man who smells like nothing she recognises.
Stuart Gordon adapting The Shadow over Innsmouth, relocated to a rotting Spanish fishing town.
Fulci's best film, and it is about a village killing the wrong person.
A lone woman on a Cornish island in 1973, a flower, a standing stone, and time coming apart.
Two shamans and two geomancers exhume a cursed grave in Korea, and what is under it is worse than the curse.
Made by one family during lockdown for almost nothing, and it looks better than films with fifty times the budget.
Mexican, and the best pregnancy horror since Rosemary's Baby. The joint-cracking sound design is the thing.
An Indonesian folk horror about a woman who returns to a village that has been waiting for her.
A scientist and a guide walk into a forest during a pandemic and find a man, and a spirit, that do not want them to leave.
An Indian-American teenager unleashes a demon from Hindu folklore while trying to assimilate.
A Carpathian village, a dead girl with a white ball, and Fellini borrowed the image wholesale.
Starts as a kitchen-sink drama about money, ends somewhere else entirely. The turn is brutal.
Two women murdered by samurai return as cats bound by a promise to drink the blood of every samurai they meet.
A Guatemalan dictator on trial for genocide is haunted in his own home. The weeping woman as historical reckoning.
Icelandic, extremely slow, and entirely dependent on you accepting the thing in the second act.
Alex Garland being about as subtle as a church door. The final sequence is remarkable regardless.
Hopping Chinese vampires, a Taoist priest, and sticky rice as a medical treatment. It invented a whole genre.
The runic parchment, the smoke on the railway line, and a monster the producer added against the director's wishes.
Two women murder soldiers in a sea of susuki grass in fourteenth-century Japan. The grass is the antagonist.
A BBC play about a repressed vicar's son in the English countryside, and it is one of the strangest things ever broadcast.
A Martian spacecraft under a London tube station, and it explains the Devil.
The real Santa Claus is a horned thing frozen in a Finnish mountain, and a drilling company has found it.
Coogler in 1932 Mississippi with twin Michael B. Jordans and a juke joint. Shot on 65mm and it shows.
Angela Carter adapting herself. Nested fairy tales about what adults tell girls about men.
Austrian, based on real 18th-century court records, and about a form of despair almost nobody has filmed.
Carpenter's follow-up to Halloween: a Californian coastal town, a hundredth anniversary, and something owed.
A Norwegian student with a repressive religious upbringing discovers her desire has physical consequences.
Hammer's only zombie film, set in a Cornish village, and it beat Romero to the mass grave by two years.
Four men, a Swedish forest, and a creature design worth waiting for.
Two and a half hours, and it withholds whether the shaman is helping right until the end.
A teenager suspects the woman next door is a witch wearing the neighbours' skins. A word-of-mouth streaming hit.
Children orphaned by the Mexican drug war, three wishes, and the dead following them through the streets.
Four interlocking Halloween stories and the best anthology since Creepshow. Warner shelved it for two years.
An Indian folk horror about greed, a hidden god, and a womb in the earth, spanning three generations.
Tehran during the War of the Cities, a djinn, and a mother the state has already stripped of options.
A Czech surrealist film about a thirteen-year-old girl, vampires and menstruation, and it is not what that sounds like.
The only horror film made in the Soviet Union, and the last twenty minutes are extraordinary.
A Danish coming-of-age werewolf film, and the transformation is puberty in a fishing village that already knows.
A Macedonian witch story told as a Malick film, and it is about what it is to be a person.