Folk Horror Films: From Murnau to Ari Aster

Folk horror is a subgenre of horror with deep roots in cinematic history. Characterized by rural settings, local mythology, and a sense of ancestral darkness, folk horror has created some of the most evocative and frightening cinematic works of all time. This article will explore the evolution of folk horror, the filmmakers who helped define it, and its enduring influences, both on indie cinema and classic classics.

The Roots of Folk Horror

Folk horror can trace its origins to German Expressionist cinema of the 1920s. F.W. Murnau’s silent masterpiece Nosferatu (1922) is an early example of the eerie atmosphere and rural setting that would later be reflected in many folk horror movies. Murnau’s work also introduced the concept of the “monster” that, unlike urban ones, had deeper roots in tradition and nature.

The Golden Age of Folk Horror

The 1960s and 1970s were the golden age of folk horror. Directors such as Robin Hardy, with The Wicker Man (1973), propelled the genre to the height of its popularity. The film explores the conflict between Christianity and ancient pagan beliefs on a remote Scottish island, ending with an iconic finale. This period also saw the classic Witchfinder General (1968) by Michael Reeves, based on the true story of Matthew Hopkins, a 17th-century witch hunter.

The Influence of British Folk Horror

Great Britain has been a hotbed for folk horror productions. The country’s landscapes and lore have nurtured stories steeped in the countryside and its legends. Films like Ben Wheatley’s A Field in England (2013) and Wheatley’s Kill List (2011) are modern examples of Britain’s continued love affair with folk horror. These films fuse elements of magical realism, the occult, and rural terror to create a distinctive experience.

Folk horror has also influenced other media, including television. The British series Children of the Stones (1977) is a noteworthy example of the genre’s impact on the small screen. The plot follows a family moving to a seemingly peaceful English village that is, in fact, ruled by ancient and sinister forces.

The Advancement of Modern Folk Horror

Folk horror is alive and well in contemporary cinema. Directors like Ari Aster have taken the genre to new heights with works such as Midsommar (2019), set amid a Swedish pagan festival. The film perfectly embodies the isolated, disquieting feel of folk horror, while also delving into the characters’ psychology in a folkloric context.

The Future of Folk Horror

Folk horror is likely to keep evolving. Directors will continue to find inventive ways of blending old legends and rustic fears into modern settings. The genre remains a potent presence in horror cinema, captivating and frightening audiences all over the globe.

Folk horror represents a vital part of the history of horror cinema. From its modest beginnings in German Expressionist film to modern directors’ inventive takes, the genre has consistently delivered a unique vision of fear, rooted in tradition and human nature. With its mix of local myths, rural backdrops, and ancient terror, folk horror endures as a timeless cinematic subgenre.

The Independent Folk Horror Movies Not to Be Missed

The Fall of the House of Usher (1928)

The Fall of the House of Usher (1928), directed by Jean Epstein, can be associated with “folk horror” owing to its oppressive atmosphere and thematic focus on an ancient curse.

The narrative follows an unnamed observer who visits the decaying House of Usher, a family beset by calamities and a shadowy curse. The house itself appears alive, with crumbling walls and a pervasive dread. As the visitor aims to unravel the Ushers’ dark secrets and their link to the estate, the film depicts a downward spiral into insanity.

Noted for its striking cinematography and foreboding tone—common in “folk horror”—Jean Epstein utilizes expressive visual methods to capture the characters’ mental collapse and heightening anguish.

Considered a classic of Expressionist filmmaking, The Fall of the House of Usher stands as an influential cinematic adaptation of Edgar Allan Poe’s work in the realm of “folk horror.”

Lust of the Vampire (1957)

Lust of the Vampire (1957) is a British horror film that can be considered part of the folk horror subgenre. While “folk horror” is typically associated with works from the 1960s and 1970s, certain elements appear here, too.

The film embraces essential traits of folk horror such as a secluded location, rural beliefs, and a supernatural force enmeshed in peasant life. The story follows a young woman who inherits a rural estate in France, only to find herself enmeshed in a mysterious, supernatural chain of events. The surrounding village is replete with rumors and fears surrounding rumored vampire creatures.

Although Lust of the Vampire may not be deemed a pioneering folk horror feature, it demonstrates the themes and ambiance that would later be expanded in classics like The Wicker Man (1973) and Witchfinder General (1968). By weaving rustic elements into the storyline, it promotes a sense of seclusion and tension rooted in local superstitions.

Black Sunday (1960)

Black Sunday (1960), an Italian horror movie directed by Mario Bava, is frequently viewed as a forerunner to folk horror for the way it weaves local legends and superstitions into a tale of supernatural vengeance.

Set in 17th-century Moldavia, the narrative follows the vampire witch Asa Vajda and her consort Javuto, both executed for dark magic. Before her death, Asa curses the family responsible and vows retribution. Two centuries later, the Vajda descendants inadvertently resurrect her, triggering a chain of supernatural events.

Revered for its Gothic visuals, lush setting, and strikingly suspenseful sequences, Black Sunday helped launch Mario Bava’s reputation as a master of Italian horror. It left an enduring impact on the folk horror genre through its depiction of archaic curses and malevolent entities.

Black Sabbath (1963)

Black Sabbath (1963), directed by Mario Bava, exemplifies Italian horror anthology cinema. It unfolds in three separate segments, each delivering a unique brand of terror.

1. The Telephone – A woman is menaced by an unknown caller.
2. I Wurdulak – Based on a Leo Tolstoy tale, it focuses on vampire hunters contending with a reanimated Wurdulak.
3. The Drop of Water – A nurse who steals a ring from a corpse encounters unearthly disturbances.

While Black Sabbath is not strictly a folk horror film, it draws upon local folklore and mythic beliefs—particularly in “I Wurdulak,” which places vampires in an Eastern European folkloric setting. These cultural details solidify the frightening effect and resonate with many folk horror sensibilities.

Faust

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Horror, by F. W. Murnau, German, 1926.
Faust is an elderly scholar who has lost faith in life. He is defeated by his inability to help others and by his awareness of his own mortality. One day, he meets Mephistopheles, who offers him a pact: in exchange for his soul, Mephistopheles will give him eternal youth and power. Faust accepts the pact and Mephistopheles takes him to a world of luxury and pleasure. Faust falls in love with Gretchen, a young innocent woman, but their love is thwarted by Mephistopheles.

Faust is considered one of the greatest silent films ever made. It is a visually stunning film, with Murnau's use of expressionist imagery and symbolism to create a dark and atmospheric world. The film also features some of the most iconic scenes in cinema history, such as the sequence in which Faust and Mephistopheles fly on a magic carpet. In addition to its artistic merits, Faust was one of the last major German films produced before the rise of the Nazis. The film's dark and expressionist style later influenced directors such as Orson Welles and Fritz Lang. It is a visually stunning and thought-provoking film that explores the themes of temptation, redemption, and the human condition.

LANGUAGE: German
SUBTITLES: English, Spanish, French, Portuguese

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The Third Eye (1966)

The Third Eye (1966), directed by Chetan Anand, is an Indian film often cited as an instance of folk horror within that context, as it merges native lore and superstition with paranormal and occult themes.

In the story, a documentary filmmaker aims to capture local beliefs and rites linked to reincarnation. During filming, he and his crew experience otherworldly manifestations, undermining their rational mindset and revealing dark powers rooted in ancient customs.

Renowned for its haunting mood and for spotlighting India’s remote locales, The Third Eye was a trailblazer in bringing folk horror aspects—rural mysticism and mythic dread—to the Indian film scene.

Rosemary’s Baby (1968)

Directed by Roman Polanski, Rosemary’s Baby (1968) is celebrated for its psychological terror and creeping dread, though not typically viewed as folk horror. The plot follows Rosemary Woodhouse (Mia Farrow) and her husband, Guy (John Cassavetes), who move into a historic New York building. When Rosemary becomes pregnant, she grows convinced that malevolent forces—and possibly their neighbors—are manipulating her pregnancy.

With its slow buildup, rising paranoia, and intense performance from Farrow, Rosemary’s Baby changed the psychological horror landscape. Yet it stands apart from folk horror, which often emphasizes rural legends and the supernatural linked to local customs.

The Bird with the Crystal Plumage (1970)

The Bird with the Crystal Plumage (1970), by Dario Argento, is an Italian giallo revered for its stylish visuals and Ennio Morricone’s tense score.

The plot centers on Sam Dalmas (Tony Musante), an American in Rome, who accidentally witnesses an attempted murder inside an art gallery. Trapped behind glass doors, Sam becomes an unintended participant in a series of killings, working with a journalist to identify the culprit. The film’s elaborate camera angles and Morricone’s music heighten suspense throughout.

While The Bird with the Crystal Plumage helped popularize Giallo, it is not classified as folk horror, which typically brings together rural mysticism, local superstitions, and archaic tales.

Don’t Torture a Duckling (1972)

Don’t Torture a Duckling (1972), directed by Lucio Fulci, is an Italian thriller known for psychological and horror elements rather than anything related to ducks. It takes place in a rural southern Italian community plagued by child murders, aligning it with the Italian giallo tradition that mixes intricate mysteries with a grim mood.

The plot centers on a journalist and a private investigator determined to solve the spate of child murders in a tight-knit region. Old-school beliefs, local superstitions, and secrets are unearthed as the investigation proceeds. The film addresses violence, stigma, and communal panic, reflecting broader social issues via the horror lens.

Praised for its bleak style and willingness to tackle taboo subjects, Don’t Torture a Duckling exemplifies the risk-taking spirit of Italian ’70s cinema.

Nosferatu

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When a young real estate agent, Thomas Hutter, goes to the castle to close a deal, Orlok is attracted by his blood and decides to follow him to his hometown. The arrival of the count causes a series of mysterious deaths and spreads panic among the inhabitants.

Murnau, through evocative images and disturbing atmospheres, creates a work that goes far beyond the simple adaptation of Stoker's novel. The film explores universal themes such as the fear of death, isolation and the loss of humanity. The production of Nosferatu was characterized by some legal difficulties due to the copyright of Bram Stoker's novel. Despite this, Murnau and his crew managed to make a film of great visual impact. The choice of Max Schreck to play Count Orlok was ingenious. His cadaverous appearance and his unnatural movements have made the character of Orlok one of the iconic monsters in the history of cinema. Over the years, Nosferatu has become a cult film, influencing generations of filmmakers and becoming a reference point for the horror genre. The image of Count Orlok, with his elongated nails and sunken eyes, has become an icon of horror cinema.

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Don’t Look Now (1973)

Don’t Look Now (1973), directed by Nicolas Roeg, is a defining film in psychological horror, not traditionally folk horror. It features a grieving couple (Donald Sutherland and Julie Christie) who relocate to Venice after losing their daughter. As they settle in, the city’s mystical aura and visions of a child in a red coat spark a sense of dread.

Notable for its inventive editing and nonlinear narrative, Don’t Look Now explores themes of loss, confusion, and the unseen. While it harnesses dread and the supernatural, it falls outside typical folk horror conventions, which tend to center on rural or mythic contexts.

The Omen (1976)

Richard Donner’s The Omen (1976) is revered for its supernatural plot but does not fit into folk horror. Gregory Peck plays Robert Thorn, an American ambassador who unknowingly adopts the Antichrist, Damien. As horrific incidents build around Damien, Robert suspects sinister and fatal connections to his adopted son.

Lauded for its tense tone and portrayal of evil personified, The Omen incorporates religious and cosmic struggles of good vs. evil, accompanied by Jerry Goldsmith’s iconic score. Its success sparked multiple sequels and remakes, reaffirming its status as a key work in supernatural horror.

Cannibal Holocaust (1980)

Cannibal Holocaust (1980), by Ruggero Deodato, is an Italian film infamous in the cannibal horror subgenre. The narrative follows a professor venturing into the Amazon to find a missing documentary crew investigating cannibalistic tribes. He uncovers violent, graphic footage pointing to the crew’s horrifying acts.

Renowned for its intense gore and explicit scenes, Cannibal Holocaust was heavily censored and even led to Deodato’s legal troubles. Initially mistaken for a “snuff” film, he had to prove his actors survived. It remains a landmark in extreme horror and a flashpoint in cinematic violence and ethics debates.

In the Mouth of Madness (1994)

John Carpenter’s In the Mouth of Madness (1994) is recognized for merging horror with psychological elements. Sam Neill stars as John Trent, an insurance investigator looking into the disappearance of a famed horror novelist, Sutter Cane. Cane’s latest manuscript disturbs readers and may have conjured a fictional locale named Hobb’s End into reality.

As Trent’s queries twist logic and reality, the film unfolds with Lovecraftian flair—portraying cosmic terror and questioning sanity. In the Mouth of Madness is a cult favorite among horror fans, though its emphasis on existential dread and reality-bending sets it apart from folk horror’s typical rural, cultural focus.

The cabinet of Dr. Caligari

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Horror, fantasy, by Robert Wiene, Germany, 1920.
The symbolic film of cinematic expressionism. Francis tells a story to a man: in 1830, in a small town, a guy named Caligari, plays the barker at the fair to present the attraction of him, a sleepwalker that he holds under hypnosis in a coffin. The doctor argues that the sleepwalker is able to know the past and predict the future. Unreal atmospheres and deformed sets, stylized acting, split personality, confusion between dream and reality.

Food for thought
Personality from the Greek person means mask. Person comes from the word personality. Individuality is a gift of existence, personality is imposed by society. Personality follows the flock of sheep, individuality is a lion moving on its own. Until you let go of your personality you won't be able to find your individuality.

LANGUAGE: German
SUBTITLES: English, Spanish, French, Portuguese

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The Descent (2005)

A 2005 British horror feature by Neil Marshall, The Descent follows a team of friends exploring a little-known Appalachian cave system. Soon they realize they’re not alone, facing a deadly subterranean threat. The film melds the claustrophobic tension of spelunking with horrific supernatural elements, ratcheting suspense as the group battles to survive.

Well-received for its suffocating atmosphere and gripping terror, The Descent has been labeled one of the 2000s’ scariest horror entries. It became a genre staple, spawning a sequel.

The Witch (2015)

Directed by Robert Eggers, The Witch (2015) sits squarely in the folk horror canon. Taking place in 17th-century New England, it depicts a Puritan family exiled from their community. Setting up a homestead beside a gloomy forest, they encounter frightening phenomena. The mother (Kate Dickie) suspects an evil force in the woods, fueling dread and suspicion within the family.

Praised for its deeply atmospheric tone and historical authenticity, The Witch examines superstition, religious fervor, and primal fear. It resonates with folk horror’s emphasis on old-world isolation, ancient beliefs, and the unknown.

Hereditary (2018)

Ari Aster’s Hereditary (2018) represents a contemporary folk horror style. The Graham family faces alarming incidents after their grandmother’s death. Annie (Toni Collette) tries to unearth her lineage’s grim secrets as eerie happenings spiral into terror. Unfolding themes include inherited trauma and mental illness, driving the family to the brink.

Widely acclaimed for its harrowing atmosphere and psychological tension, Hereditary received praise for its meticulously crafted plot and standout performances. It maintains a potent feeling of unease throughout.

The Wind (2018)

The Wind (2018), directed by Emma Tammi, firmly resides in folk horror territory. Set in a 19th-century American frontier country, it follows Lizzy Macklin (Caitlin Gerard), who, along with her husband on a remote homestead, becomes convinced a malevolent presence lurks in the empty plains.

With themes of solitude, seclusion, and the intangible dread of uncultivated nature, The Wind merges psychological fright with Western folklore. Its stark visuals and atmosphere highlight the menacing emptiness of frontier life.

Vampyr

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Horror, by Carl Theodor Dreyer, Germany, 1932.
Late in the evening, Allan Gray arrives at an inn near the town of Courtempierre and rents a room to sleep. Gray is suddenly disturbed by an old man, who enters the room and leaves a square package on the table: "To be opened on my death" is written on the wrapping paper. Gray takes the package and heads to an old castle where he sees an old woman and meets another old man. Looking through one of the windows, Gray sees the owner of the castle, the same man who gave him the package. The man is suddenly killed by a gunshot.

Carl Theodor Dreyer's Vampyr is made in the transition years between sound and silent cinema, using the visual language of the former to bring the horror genre into the new era. In Vampyr reigns a constant feeling of anguish, a nightmarish state of mind and invisible presences that lurk in every corner. Rudolph Maté's photography records every subtlety of light and shadow in a captivating dance. By now iconic shots, such as that of a man with a scythe ringing a bell and the sign of an inn silhouetted against a dark sky. Anthology scenes like the one in which Allan dreams of being buried alive by the vampire's henchmen, in which Dreyer uses a claustrophobic subjective view that makes the viewer "enter" the coffin. Just as in his previous film, The Passion of Joan of Arc from 1928, Dreyer uses intense close-ups to underscore the fears his characters encounter. Darkness plays an important role: the shadows move independently of their bodies and the forces of evil violate the rules of physics. Vampyr is a remarkable exploration of the boundaries between light and dark, fate and shadows, night and day. One of the masterpieces in the history of cinema that cannot be missed.

LANGUAGE: German
SUBTITLES: English, Spanish, French, Portuguese

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Midsommar (2019)

Ari Aster’s Midsommar (2019) belongs to the “folk horror” genre and provides a chilling, atypical approach to it.

The story centers on Dani (Florence Pugh), who, following a family tragedy, joins friends on a trip to Sweden to attend a once-every-90-years summer festival. Initially enchanting, the experience quickly descends into horrifying rituals as the village’s celebrations prove far more sinister than they appear.

Aster’s use of bright daylight, floral imagery, and ceremonial rites contrasts fiercely with the gruesome acts unfolding in the village. Midsommar delves into themes of groupthink, nature worship, and communal delusion, exemplifying folk horror’s capacity to reimagine ancient traditions as a source of modern unease.

Santa Maud – Saint Maud (2019)

Saint Maud (2019), written and directed by Rose Glass, is primarily a psychological thriller with dramatic and horror undertones.

Maud (Morfydd Clark), a deeply religious British nurse recovering from a traumatic event, becomes fixated on saving the soul of her terminally ill patient Amanda (Jennifer Ehle). As Maud’s faith intensifies, her obsession with redemption accelerates into frightening extremes.

Working with themes of religious fervor, self-delusion, and an unsettling devotion to a spiritual cause, Saint Maud is suffused with tension amplified by its haunting score. Clark’s standout performance anchors a film that offers a striking meditation on the interplay between belief and psychological unraveling.

The Lighthouse (2019)

The Lighthouse (2019), directed by Robert Eggers, is known by the same name in English and Italian. It combines psychological thriller and horror, set in a 19th-century lighthouse on an Atlantic isle.

The narrative focuses on two lighthouse keepers (Willem Dafoe, and Robert Pattinson) stuck together for four weeks. Cut off from civilization, they descend into bouts of suspicion, madness, and supernatural illusions. This claustrophobic dynamic and frequent nods to maritime myths lend a distinctive brand of “folk horror,” steeped in sea lore and the eerie isolation of the setting.

Filmed in stark black and white, The Lighthouse employs symbolic and mythic elements, with Dafoe and Pattinson’s performances heightening the tension. Eggers’s bold cinematic style reaffirms his status as a major voice in modern horror, flirting with themes of primal dread akin to folk horror’s characteristic focus on environment and folklore.