
The Wailing (2016)
- Atmosphere
- 9.5
- Fear
- 8.2
- Gore
- 6.0
- Overall
- 8.5
When a mysterious Japanese stranger arrives in a remote Korean mountain village, a brutal illness begins to spread and a series of violent murders rocks the community.
Subgenre Guide
The Definitive Canon, Ranked by Atmosphere
I've struggled with defining folk horror, and I think the difficulty is trying to fit all the pieces neatly into a box. Just when I think I've grasped it, another folk horror film comes along and breaks my understanding. It's one of those "I can't explain it, but I'll know it when I see it". But since we're making a top folk horror list, that's not good enough so I'll attempt to make a framework for what constitutes a folk horror film.
Unlike "slashers" or "creature-feature" subgenres, folk horror isn't self-explanatory nor is it as prevalent. You may have heard "The Witch" and "Midsommar" are (modern) examples — but why? They're outdoorsy? They lack traditional jump scares? They're "slower" paced? I think the best way to define folk horror is coming up with prevalent themes that occur naturally in these films and contribute to that "folk horror feeling".
Rural location, often in the countryside. This could be a dark, looming forest, or sweeping plains far outside the reaches of the city (The Witch, The Wicker Man).
Isolation. A lot of times the characters may be trapped or cut off from reaching the "safety" of urban areas. This fuels paranoia and a sense of unease. Think Midsommar: the visiting students are brought to a remote rural commune in Sweden, where they're socially and physically cut off from the outside world. The Blair Witch Project is another good example; the group cannot escape their current location, despite their increasingly desperate attempts.
Rituals. These are supported by a skewed moral/belief system. They live differently; there may be a sense of lawlessness, and/or alien traditions and customs. These rituals can be paranormal in nature. In Midsommar, Spoiler In other films, sacrifices are sometimes made to appease an ancient deity or evil entity.
Outsider vs. Insider. A clash between social groups where tension is felt, sometimes spilling into violence. This could be old values vs. new values, or generational differences, or even systemic racism (think Get Out). None of these factors by themselves guarantee inclusion, but each contributing element can suggest (sometimes strongly) that you're in folk horror territory.
TL;DR — Folk horror films at minimum have one or two of the following elements (more elements make a strong case): a rural setting (often countryside); isolation of central characters; ritualistic practices rooted in a twisted moral/belief system (sometimes paranormal); and an outsider vs. insider dynamic that builds tension, often escalating to violence.

When a mysterious Japanese stranger arrives in a remote Korean mountain village, a brutal illness begins to spread and a series of violent murders rocks the community.

A Puritan family tears itself apart in the New England wilderness — the woods were never the real threat.

An island. A missing child. A god the locals still feed.

A young woman's recurring nightmares are not meaningless — they are a summons. Across the Carpathians, something ancient and hungry has already chosen her.

Something turns up in the soil. The children begin to change.

He arrives with a horse, a black coat, and a price for every confession he can drag from a screaming woman.

No one ever goes in the honeymoon suite. You'll find out why.

Swedish pines in autumn. Silence so thick it presses against you. And something moving just out of sight.

Evil entity battles with family in Thailand. And you thought your family had problems.

They came home to build something. The music called something older.

The foster mom seemed kind, at first. The locked shed, and a boy with demonic tendencies suggest, maybe not.


Every village has a folktale. Every folktale has a kernel of truth. Some kernels are worse than others.

The estate has been in the family for generations. What's underneath it has been there longer.

A new country. A new home. Something old lived there first.

A dictator was acquitted of genocide. The dead don't recognize the verdict.


A breakup set against a cult's midsummer festival. Somehow, the sunlight makes it worse.
Didn't make the cut
Films commonly grouped with this subgenre that, in our read, sit just outside the canon. Included here so you know where we drew the line — and why.
Lee Cronin leans into folk horror grammar with the family's inherited containment ritual, but the gothic Mummy IP framing keeps it adjacent rather than canonical — the tradition is presented as a burden the modern protagonist must reckon with, not as a worldview that's morally correct inside its own system.
The four-rule framework used in this guide is drawn from this video.