10 best women-directed horror films from the 2020s (so far)

Horror has historically featured iconic women in front of the camera, whether they are triumphant final girls or scream queens who continue to champion the genre. But what goes on behind the camera in the horror genre is a different story altogether.

Women directors in general aren’t as plentiful in comparison to cis men, and that unfortunately is true for the horror world as well. We might be here forever if we discuss why that is or how women of color and queer women directors are even less plentiful, so we’ll save that for another time. Instead, let’s celebrate what we have been given. Here are some of the best women-directed horror films from the 2020s!

Candyman (2021)

Returning to the world of Candyman and expanding the lore was an exciting experience for fans in 2021. Candyman is a direct sequel to the 1992 original and follows the baby, now a grown man, that Helen (Virginia Madsen) saved in the first film.

The film explores themes of police brutality against the Black community, generational trauma, gentrification, and the power and endurance of folklore. Candyman isn’t an easy film to rewatch, but Nia DaCosta’s directing is stellar, and she captures the gritty moments so well throughout. Not to mention, having a Black woman bring the film series back is something to celebrate and make note of.

Fear Street Trilogy (2021)

Bringing the Fear Street books by R.L. Stine to life was quite the task for Leigh Janiak, but she absolutely delivered. The Fear Street trilogy is based on the book series of the same name and follows Deena (Kiana Madeira), a Black lesbian who stops at nothing to save her girlfriend and stop the curse plaguing her town. But not without a lot of spirits trying to kill her, her brother, and their friends.

The trilogy serves as a multi-period piece as the timelines jump from the 1990s to the 1600s, and there’s no shortage of blood. The directing throughout all three films is fun, very queer, and the homages paid to subgenres and other films are delightful. The trilogy was quite the event for the summer of 2021, so it deserves our continued appreciation.

Sissy (2022)

Australian horror gem Sissy is well worth watching multiple times over. Sissy follows wellness influencer Cecilia (Aisha Dee), who is invited to her former best friend’s bachelorette weekend and comes face to face with her childhood bully. The film not only tackles the harmful aspects of social media, but it also positions the protagonist as the “antagonist.” Not to mention, Cecilia being Black and queer-coded puts her in a particular position. Black girl rage isn’t always seen in horror, and it’s intriguing when it’s done right.

Sissy is shot very stylishly, with a dreamlike feeling in some of the sequences. Aisha Dee delivers a performance worth talking about, and there’s quite a bit to appreciate regarding Hannah Barlow’s directing chops. As far as women-directed horror (in this case co-directed) goes, Sissy is a delight for the 2020s decade of the genre.

Bodies Bodies Bodies (2022)

Poking fun at Gen Z doesn’t always have to be aggressive, sometimes it can be fun and neon-splattered like Bodies Bodies Bodies. The film follows a friend group who plays a version of Werewolf that goes extremely wrong for everyone involved. While it sounds very serious, the film is actually quite funny (mostly thanks to Rachel Sennott) and serves as a satire on class privilege, classism, and the misuse of trauma-centric terms. Director Halina Reijn manages to capture that quite well, despite being a Gen Xer.

Instead of working together during a crisis, the group is detrimental to one another and their behavior leads to death and misunderstanding. Bodies Bodies Bodies is the perfect horror comedy with a huge dose of queerness and stylish ambiance to watch any night of the week.

Deadstream (2022)

Found footage is such a fun subgenre and it’s lovely to see more women behind the camera. Deadstream follows a disgraced YouTuber who runs into trouble when he stays the night in a haunted house. Instead of being serious in tone like The Blair Witch Project (1999), Deadstream is quite comedic alongside its scares. And while Vanessa Winter co-directed the film with her husband, Joseph Winter (who also plays the main character), it still counts in this list.

Deadstream is the type of found-footage horror film to pop on when you want to laugh and not fully care what happens to the main character. It’s nothing more or less, but does quite well with what it’s aiming for and that’s what matters.

Fresh (2022)

Sebastian Stan as a charming and terrifying antagonist? Yes, please. Fresh follows a young woman named Noa (Daisy Edgar-Jones) who thinks she’s met her ideal partner, only for things to go awry when she goes on a getaway weekend with him. The immediate tonal shift comes after 30 minutes or so, and it’s perfectly startling during a first-time viewing, as Sebastian Stan goes from laying on the charm to laying on the terror.

Director Mimi Cave expertly tackles the state of online dating, misogyny, and how women can and do uphold oppressive systems. It’s a beautifully shot horror thriller that showcases the women in the cast and doesn’t shy away from its dark subject matter. But don’t watch if you’re extremely squeamish about … meat. 

The Sacrifice Game (2023)

Twists in horror films aren’t always effective, but The Sacrifice Game does it well and is a great addition to holiday horror. The Sacrifice Game follows two boarding school students and a teacher who end up in hot water when violent intruders hold them hostage. The twist in the film isn’t what most people might be expecting, and that’s why it works so well. Revealing said twist would ruin a first-time watch, but let’s just say the intruders don’t know what they’re doing.

Director Jenn Wexler crafts peril for the girls quite well and the ’70s aesthetic is captured perfectly in a mostly single-setting horror film. The Sacrifice Game offers an intriguing opportunity to see the film from a different perspective when the twist is revealed, and the women/girls in the cast kill it as far as performances go. It’s a fun and violent gem to check out when you’re in the mood for something different.

The First Omen (2024)

Ave Satani … and reproductive rights! The First Omen is a prequel to The Omen; it follows an American nun and explores the origins of the antichrist Damien and how he was born. Knowing the film is Arkasha Stevenson’s directorial debut would stun just about anybody. 

The film isn’t just shot well, the lead performance from Nell Tiger Free is something to behold. It’s clear a woman helped bring this film to life as The First Omen is absolutely a reproductive horror film. Considering the state of reproductive rights in the U.S. in particular, it’s still quite topical. The imagery throughout the film is unforgettable, and the homages paid to other horror films are noticeable if you pay attention. Overall, it’s still one of the best films from 2024 and there’s no question about it. 

The Substance (2024)

Control yourself or you’ll be in a world of trouble. The Substance follows an aging star (Demi Moore) who takes a serum that creates a younger version of herself, only for everything to go entirely bonkers when the instructions aren’t followed. The film tackles beauty standards and misogyny in the entertainment industry in a very surface-level way, but the body horror is spectacular and the performances from Demi Moore and Margaret Qualley are praiseworthy. 

It’s hard not to regard it as one of the breakout 2024 horror films, and Coralie Fargeat’s stylish directing comes through neatly (much like her debut film, Revenge). If you can handle body horror to the highest degree, then The Substance is exactly what you should turn on.

Carnage for Christmas (2024)

Alice Maio Mackay has accomplished quite a bit for her age, and Carnage for Christmas is another feat of hers. The film follows an Australian trans woman who returns home and tries to solve the mysterious killings that are happening in town. Carnage for Christmas isn’t a blockbuster horror film with a huge budget. Instead, it’s an indie production that delights in practical effects and representation, and none of that should ever be underappreciated. 

Carnage for Christmas might not be perfect screenplay-wise, but it was made with love for the genre, and that shines through. Not to mention an out trans woman, in her early 20s, is the director, and that deserves a huge thumbs up!