10 Drama Films That Verge On Becoming A Horror Film

This article includes mentions of rape.

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What constitutes a horror movie is often a matter of debate, but a good place to begin is by measuring how much a film can instill fear in viewers. Traditionally, though, without some extreme violence, a few jumpscares, or a supernatural presence or setting, a scary movie doesn’t just become a horror movie. Unless a viewer feels an extreme physical reaction to a visual, auditory, or conceptual stimulus, a movie doesn’t necessarily become a proper horror film.

Often, horror movies are equally creepy and fun, and sometimes, horror comedy movies can be purely hilarious, bordering on not being horror movies at all. Because of its flexible definition, horror is easy to blend with other genres, and similarly, other genres can easily create viewing experiences that closely resemble the experience of watching a horror film. Drama films, especially ones that rely on anxieties and interpersonal dynamics for their dramatic turns, can thus often come close to becoming horror movies.

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10 Nightcrawler (2014)

Directed by Dan Gilroy

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9/10 9.5/10 Nightcrawler RCrimeDramaThriller

Written and directed by Dan Gilroy, Nightcrawler follows petty thief Lou Bloom (Jake Gyllenhaal) after he learns of a potentially lucrative job opportunity selling footage of violent events to local media outlets. Lou becomes a “stringer” – a freelance journalist who captures and records footage for news stations – and finds that the profession sucks him into the most dangerous parts of Los Angeles. Drawn deeper into his dark obsession, Lou becomes increasingly fixated with violence and crime.  

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*Availability in US Director Dan Gilroy Release Date October 31, 2014 Studio(s) Bold Films Distributor(s) Open Road Films Writers Dan Gilroy Cast Riz Ahmed , Bill Paxton , Jake Gyllenhaal , Rene Russo , Kevin Rahm , Michael Hyatt , Ann Cusack Runtime 117 Minutes Expand

Jake Gyllenhaal’s portrayal of Lou, the protagonist of Nightcrawler, is reason enough to consider the film a horror. His deep-seated eyes that have permanent dark circles around them, prominent cheekbones, bright pupils, and slicked-back hair, coupled with his no-nonsense transactional style of talking, lack of blinking, and his unnerving ability to walk among people like an unnoticed shadow make him a terrifying screen presence. When he loses his calm and breaks a cabinet window, it almost feels like a scene out of a horror movie where a supernatural spirit has attacked the furniture.

While it’s widely considered unfair of the Academy to snub Gyllenhaal and not nominate him for Best Actor Oscar in 2015 for his portrayal of Lou Bloom in
Nightcrawler
, the film got a nod from the Academy in the form of a Best Original Screenplay Oscar nomination.

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With a 95% on Rotten Tomatoes, Nightcrawler is a must-watch not just for Jake Gyllenhaal but also because of how masterfully its world has been crafted to embody the themes. The lack of morality is reflected through the use of framing techniques popular in noir films, and the dim lighting and sketchy settings for the scenes reflect the darkness in the protagonist’s mind. Nightcrawler feels like a never-ending run through the dark alleys of Lou’s mind that hides the most impulsive and dangerous instincts in the form of monsters in the night.

9 2001: A Space Odyssey (1968)

Directed by Stanley Kubrick

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9/10 10 8.2/10 2001: A Space Odyssey GAdventureMysterySci-Fi

2001: A Space Odyssey is one of Stanley Kubrick’s most well-known films. A science-fiction epic, the film tells the story of the journey of Discovery One, a spacecraft operated by a group of scientists, astronauts, and a sentient computer, on a mission to Jupiter to investigate a mysterious monolith. Considered one of the greatest films ever made, Kubrick combines sparse dialogue with the heavy use of scoring and ambiguous imagery to create something that eschews conventional filmmaking. 

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*Availability in US Director Stanley Kubrick Release Date April 3, 1968 Studio(s) Metro-Goldwyn-Mayer Distributor(s) Metro-Goldwyn-Mayer Writers Stanley Kubrick , Arthur C. Clarke Cast Keir Dullea , Gary Lockwood , William Sylvester , Daniel Richter , Leonard Rossiter , Margaret Tyzack Runtime 149 minutes Expand

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While 2001: A Space Odyssey is most prominently a sci-fi film, it follows the conventions of dramatic storytelling. It is more of a social drama than a sci-fi adventure thriller simply because of how it is paced and how it spends most of its time providing deep social commentary on what makes humans human. But it also has elements of horror. The villain, HAL 9000, has a story that is eerily similar to that of Frankenstein’s monster. Most of the film is set aboard a spacecraft floating in space, creating the ideal atmosphere of isolation for a horror story.

A feeling of impending doom gradually morphs into a feeling of overwhelming fear during 2001: A Space Odyssey. The characters’ skills as engineers and pilots, their ability to survive, and ultimately their grasp on reality are put to the test as horrifying visuals and existential questions are thrown at the viewers in the third act of the film. An atmosphere of terror gradually overpowers the inquisitive sense of adventure that the film starts with. Visual and auditory overload, along with Keir Dullea’s performance of paranoia make 2001: A Film Odyssey feel like a horror film.

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8 The Humans (2021)

Directed by Stephen Karam

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8/10 The Humans RDrama

The Humans, directed by Stephen Karam, focuses on a family’s Thanksgiving gathering in a rundown Manhattan apartment. The ensemble cast, including Richard Jenkins and Amy Schumer, portrays the complex relationships and underlying tensions among family members. As the evening progresses, the family’s fears and insecurities are laid bare, creating a poignant exploration of human vulnerability and connection. The Humans is an adaptation of Karam’s Tony Award-winning play.

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*Availability in US Director Stephen Karam Release Date November 24, 2021 Studio(s) A24 , IAC Films Writers Stephen Karam Cast Richard Jenkins , Jayne Houdyshell , amy schumer , Beanie Feldstein , Steven Yeun Runtime 107 Minutes Expand

Thanksgiving dinner with three generations of family members, all politely pretending they don’t secretly resent each other, is perhaps the best premise for a horror movie ever. While The Humans isn’t literally a horror film, it’s structured like one, with secret revelations that change the dynamics between the family members playing the same role as the reveals of dead bodies in a slasher film. Familial tensions rise through the course of The Humans, a tension perfectly composed and held together by a haunting score and fantastic performances from the cast. This tension serves as the premise for the emotional horror.

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If it were entirely reliant on the emotional baggage of the characters and the weight of the dialogue to elicit responses from the audience, The Humans wouldn’t feel as much like a horror film as it does. This is because the atmosphere and the setting also carry the typical mood of a horror film. From lightbulbs going out periodically, to floorboards inexplicably creaking, insecurities physically manifest in The Humans, transforming the emotional horror into a sensory one. The slow camera movement, which perfectly complements the speed of dialogue flow, builds anticipation regarding the family’s dysfunction, adding to the horror.

7 Promising Young Woman (2020)

Directed by Emerald Fennell

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8/10 6.7/10 Promising Young Woman RCrimeThrillerDrama

Starring Carey Mulligan, Promising Young Woman follows Cassie, a college dropout intent on getting revenge for the unprosecuted rape of her deceased best friend, Nina. As she becomes deeper involved in tormenting those she sees as complicit in Nina’s rape and subsequent suicide, Cassie begins to travel down a more dangerous path than she realizes. Bo Burnham, Alison Brie, Jennifer Coolidge, Laverne Cox, and Connie Britton also star. 

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*Availability in US Director Emerald Fennell Release Date December 25, 2020 Studio(s) Universal Pictures Distributor(s) Focus Features , Universal Pictures Writers Emerald Fennell Cast Jennifer Coolidge , Clancy Brown , Angela Zhou , Alison Brie , Sam Richardson , laverne cox , Christopher Mintz-Plasse , Carey Mulligan , Casey Adams , Bo Burnham , Connie Britton , Molly Shannon , Steve Monroe Runtime 113 minutes Expand

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Promising Young Woman is technically simultaneously both a social drama and a crime thriller about a woman who’s set on avenging her friend’s rape, and eventual suicide, prompted by the acquittal of her rapists. However, the structural resemblance to the rape-revenge genre ensures it comes up in almost any discussion of horror movies, even when the category is being used specifically as a subgenre of horror films. The protagonist carefully plans out and executes her crusade against the specific rapists and rapey men in general, always coming in harm’s way and leaving her targets with scars, sometimes physical, sometimes emotional.

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The mood of Promising Young Woman fluctuates between somber, scary, funny, and even romantic, quite often, thus leaving viewers in a state of emotional flux the whole time. The underlying story of rape-revenge, and the dangerous extent to which the protagonist goes for her mission, however, ensure horror predominates as the vibe. The buildup to the climactic scene and the very closing scene also use a haunting score that is equal parts sad and scary. The mood of despair and loneliness, with the almost self-sacrificial dedication to vengeance, make it a classic rape-revenge horror film.

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6 Room (2015)

Directed by Lenny Abrahamson

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9/10 Room RDrama

Based on the best-selling novel by Emma Donoghue, Room stars Brie Larson and Jacob Tremblay as Joy and Jack Newsome, a mother and son held captive by a madman in a one-room shed in his back yard. Born in “Room”, Jack has never experienced anything else, but when the opportunity presents itself to escape, he must brave the outside world in order to save his and his mother’s life. 

Director Lenny Abrahamson Release Date October 16, 2015 Studio(s) StudioCanal Distributor(s) A24 , Universal Pictures , StudioCanal Writers Emma Donoghue Cast Joan Allen , Jacob Tremblay , Megan Park , Brie Larson , William H. Macy Runtime 118minutes Expand

With a premise that suggests it is a psychological thriller, Room is in fact a drama film because it focuses on the characters’ subjectivity and their emotional journeys over the nuances of the plot, and the thrill of the story. Buoyed by brilliant performances, the film creates an atmosphere of dread that hangs over the protagonists like an eternal dark cloud. The innocence created by using a child’s POV in such a dark setting accentuates every emotional experience, inviting extreme immersion from the viewers.

Brie Larson won an Academy Award for the Best Actress in a Leading Role in 2016 for her performance as “Ma” in
Room
.

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The world of Room is one filled with fear and hope, the two sides of a coin stuck in an eternal battle. While the disposition of the characters creates a tender drama, the sheer hopelessness of the situation and the use of voiceover from Jacob Tremblay delivering one of the best child actor performances ever, make the protagonists’ terror personable for the viewers and introduce an element of horror. The horror mostly operates on an emotional level, because the score, while beautifully composed, almost introduces a sense of sappy melodrama to the intense moments it’s played over.

5 Requiem for a Dream (2000)

Directed by Darren Aronofsky

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8/10 Requiem for a Dream RDrama

Darren Aronofsky’s Requiem for a Dream follows the lives of four drug addicts as they fall deeper into their addiction and pull their loved ones on a downward spiral along with themselves. The 2000 psychological drama is an adaptation of Hubert Selby Jr.’s eponymous novel and counts with a star-studded cast that includes the likes of Ellen Burstyn, Jared Leto, Jennifer Connelly, Marlon Wayans, Christopher McDonald, and Mark Margolis.

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*Availability in US Director Darren Aronofsky Release Date December 15, 2000 Studio(s) Summit Entertainment Distributor(s) Summit Entertainment Writers Darren Aronofsky , Hubert Selby Jr. Cast Ellen Burstyn , Marlon Wayans , Christopher McDonald , Jared Leto , Jennifer Connelly Runtime 102 minutes Expand

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A harrowing drama about drug addiction, Requiem for a Dream is at times too heavy-handed with its messaging. Looking almost like a drug-addled PSA video about why one shouldn’t do drugs, it features some of the most frantic editing and chaotic camera movement committed to screen. While that’s not a particularly favorable way of filming drama, because it makes things too unstable to really focus on the emotional thread, it’s the perfect technique for filming a horror movie about drug addiction.

Even the lighting in Requiem for a Dream implies the intention of creating a horror film. The dim, shifting shadows and the sudden switch from sensory deprivation to sensory overload via bright lights right in the front of the camera and a terrifying score that never seems to stop playing, make it impossible to perceive the film as simply a drama. When even a refrigerator can turn into a jumpscare, and two people lying down can seem more like a setup for a scare instead of a tragically romantic moment, it’s just a horror film masquerading as a drama.

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4 Mulholland Drive (2001)

Directed by David Lynch

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Mulholland Drive RMysteryThrillerDrama

David Lynch’s Mulholland Drive is a neo-noir mystery about aspiring actress Betty, who becomes involved with a woman suffering from amnesia and a mysterious blue box. Starring Naomi Watts and Laura Harring, the 2001 surrealist film explores themes of identity, memory, and Hollywood’s dark side.

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*Availability in US Director David Lynch Release Date October 19, 2001 Studio(s) Universal Pictures Distributor(s) Universal Pictures Writers David Lynch Cast Laura Elena Harring , Mark Pellegrino , Justin Theroux , Naomi Watts , Ann Miller Runtime 147 minutes Expand

Lynchian effects are known to disorient viewers. From inexplicable apparitions to disturbing cinematography, David Lynch’s cinematography is full of visual effects that blur the lines between real and imaginary. Regular scenes often morph into terrifying visions that could justify classifying any of his films as a horror film. The politics of using the visual of a homeless man to induce horror makes things somewhat complicated for Mulholland Drive. However, since it metaphorically implies that his sight makes characters squeamish because the American Dream villainizes anyone who fails to conform, it can be considered to have aged well.

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Beyond the distortion of the visual field at times, there’s a dreamy texture to the visual design of Mulholland Drive that makes it easy for the film to induce doubt in viewers’ minds regarding what is real and what isn’t. The metaphorical narrative employs surrealism to provide commentary on the vapid nature of the Los Angeles lifestyle. So, what could have been a fantastical visual design, instead turns into a horrifying one because Lynch rejects romanticism for grittiness. Arguably David Lynch’s best movie, Mulholland Drive is equal parts surrealist drama and psychological horror.

3 We Need To Talk About Kevin (2011)

Directed by Lynne Ramsay

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We Need To Talk About Kevin RDramaThrillerMystery

We Need To Talk About Kevin is a psychological thriller directed by Lynne Ramsay. The film stars Tilda Swinton as Eva, a mother grappling with the aftermath of her son Kevin’s (Ezra Miller) violent actions. Through a series of flashbacks, the film explores the complex and troubled relationship between Eva and Kevin, highlighting themes of guilt, motherhood, and the nature of evil.

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*Availability in US Director Lynne Ramsay Release Date September 28, 2011 Writers Lynne Ramsay , Rory Kinnear , Lionel Shriver Cast Tilda Swinton , John C. Reilly , Ezra Miller , Jasper Newell , Rock Duer , Ashley Gerasimovich Runtime 112 minutes

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A manipulative child who can talk his way out of trouble after cold-bloodedly shooting his classmates with a bow and arrow is terrifying. Ezra Miller’s haunting performance as the unmoved and calculating Kevin makes the character a horror movie villain in all the senses of the word, even though the film is conventionally a thriller. It’s better seen as a drama, because if it were a traditional horror movie, that would involve demonizing a child who deserves sympathy therapy, and discipline, not ostracism.

Using non-linear storytelling, a soundtrack that hauntingly echoes through the hollow moments of reckoning, and featuring brilliant performances from the highly talented cast, We Need to Talk About Kevin crafts horror out of a mother’s chilling experience with guilt and a child’s unnerving apparent lack of empathy. The setting itself, chock-full of empty spaces that the guilt and the fear can occupy, and the framing, which employs negative space expertly to make viewers uncomfortable, all contribute to making We Need to Talk About Kevin feel like a horror movie.

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2 Dancer in the Dark (2000)

Directed by Lars von Trier

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Dancer in the Dark RDramaMusicalCrime

Dancer in the Dark is a film by Lars von Trier starring Björk as Selma, a Czech immigrant facing blindness. In rural America, Selma struggles to support her son, who has inherited the same condition, all while finding solace in her passion for musicals.

Director Lars von Trier Release Date October 6, 2000 Writers Lars von Trier , Sjon Cast Bjork , Catherine Deneuve , David Morse , Peter Stormare , Joel Grey , Cara Seymour , Vladica Kostic , Jean-Marc Barr Runtime 140 Minutes

Known for cynical worldviews and sadistic storytelling, Lars von Trier’s films often feature hopeless storylines that meander through sorrowful solitude before ending in tragedy. They’re almost always social dramas, and so is the case for Dancer in the Dark. The tragedy in the film becomes apparent about halfway through, and it becomes clear that things won’t improve for the protagonist. The rest of the film is a test of endurance for the viewer, who must watch in helpless agony as the main character predictably suffers and suffers until the end.

Dancer in the Dark
won the Palme d’Or award at the Cannes Film Festival in 2000, where Björk also won the Best Actress award for her performance in the film.

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The most sadistic part of Dancer in the Dark is its use of musical numbers. Presented in a manner that could suggest optimistic possibilities to an unsuspecting audience, the musical sequences only make the viewer more susceptible to the emotional blow of the tragic twists and turns in the tale. One of the darkest musical movies of all time, Dancer in the Dark is thematically a horror movie because viewers experience the most extreme emotional manipulation during the film.

1 Crash (1996)

Directed by David Cronenberg

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Crash NC-17Drama

Crash follows a TV director who becomes entangled in a subculture of car crash victims who seek thrill and connection through the raw energy of collisions, aiming to revive intimacy in his marriage through this unusual obsession.

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*Availability in US Director David Cronenberg Release Date March 20, 1997 Writers J.G. Ballard , David Cronenberg Cast James Spader , Holly Hunter , Elias Koteas , Deborah Kara Unger , Rosanna Arquette , Peter MacNeill , Cheryl Swarts , Yolande Julian , Nicky Guadagni , Ronn Sarosiak , Boyd Banks , Judah Katz , Markus Parilo , Alice Poon , John Stoneham Jr. Runtime 112 minutes Expand

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A psychosexual thriller that involves intentional car crashes, the sheer lack of restraint in the psychosis of the characters, and the extent of violence they willingly inflict on themselves, makes Crash feel like a horror movie. As an exploration of the malleability of the human body and the sexual pleasures of mutilation, Crash is equally a thriller and a body horror film. The visuals of extreme car crashes aren’t nearly as disturbing as the realization that these are self-inflicted wounds, sometimes dangerously close to being fatal. The anxiety and confusion that Crash induces in viewers justifies categorizing it as horror.

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Cronenberg’s body of work is largely in the horror genre, so it makes sense that the sensibilities he uses for most of his work impact the worldbuilding and the visual and narrative design of Crash too. Shady alleys, shadier people, masterfully blocked obscure framing, and a soundscape that’s just as terrifying as the concept or the visuals of the film, all these elements make it more terrifying with each passing minute. Yet, as a dramatic exploration of how herds can be created around taboo behavior and how a depraved and deprived mind knows no bounds, it’s more fascinating than scary.

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