{"id":752069,"date":"2026-06-23T12:00:00","date_gmt":"2026-06-23T10:00:00","guid":{"rendered":"https:\/\/numero.com\/?p=752069"},"modified":"2026-06-23T14:11:00","modified_gmt":"2026-06-23T12:11:00","slug":"9-horror-films-that-revolutionized-the-genre-to-rewatch-for-halloween","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/culture-en\/movies\/9-horror-films-that-revolutionized-the-genre-to-rewatch-for-halloween\/","title":{"rendered":"11 revolutionary horror films to (re)discover"},"content":{"rendered":"\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a5578748cd92&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a5578748cd92\" class=\"wp-block-image size-full wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"1280\" height=\"863\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/06\/backrooms-film3.jpg\" alt=\"Renate Reinsve pour la promotion du film Backrooms (2026). \u00a9 Sela Shiloni\/Metropolitan Film\/A24.\" class=\"wp-image-857631\"\/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\">Renate Reinsve and Chiwetel Ejiofor for the film <em>Backrooms<\/em> (2026). \u00a9 Sela Shiloni\/Metropolitan Film\/A24.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">From <em><strong>Psycho<\/strong><\/em> (1960) to<em><strong> The Shining<\/strong><\/em> (1980), <em><strong>The Blair Witch Project<\/strong><\/em> (1999) and the dystopian hit series <em><strong>Black Mirror<\/strong><\/em> (2011\u2013present), some horror stories have left an indelible mark on the history of cinema and pop culture. Each one of them redefined the genre\u2019s narrative and visual codes.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Which horror movies are reinventing the genre?<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Between psychological terror, visceral horror and sensory nightmares, these works continue to evolve in step with our contemporary fears. With the release of two new horror phenomena, Backrooms and Obsession, here is a look at the films that are redefining the genre.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Backrooms | Official Trailer HD | A24\" width=\"640\" height=\"360\" data-cookieconsent=\"statistics, marketing\" data-src=\"https:\/\/www.youtube.com\/embed\/0HjdiohVOik?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><div class=\"cookieconsent-optout-statistics cookieconsent-optout-marketing\"><\/div>\n<\/div><figcaption class=\"wp-element-caption\">The trailer of <em>Backrooms<\/em> (2026).<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><em>Backrooms<\/em>, A24\u2019s new horror sensation<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">In 2026, a new generation of filmmakers emerging from the internet and from Gen Z has come to the fore, offering fresh narratives shaped by our contemporary anxieties. One example is <em><strong>Backrooms<\/strong><\/em> (2026), directed by<strong> Kane Parsons<\/strong>, a 20-year-old Californian YouTuber who created a web series in 2022 out of boredom. He drew his inspiration from a <em>creepypasta<\/em>, a horror legend born online that first circulated on the forum 4chan.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">With this<em><strong> <\/strong><\/em>feature film produced by <strong><a href=\"https:\/\/numero.com\/en\/culture-en\/movies\/how-a24-established-itself-as-one-of-hollywoods-leading-studios\/\">A24<\/a><\/strong>, the studio behind <em><strong>Hereditary<\/strong><\/em> (2018) and <em><strong>Midsommar<\/strong><\/em> (2019),<strong> Kane Parsons<\/strong> becomes the youngest director in the company\u2019s history and surpasses $300 million at the global box office.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The feature follows Clark, an alcoholic furniture salesman played by<strong> Chiwetel Ejiofor<\/strong> (<em>12 Years a Slave<\/em>,<em> Doctor Strange<\/em>), who discovers a labyrinth of empty, unsettling rooms haunted by a gigantic creature beneath his store. Opposite him, <strong>Renate Reinsve<\/strong> (<em>The Worst Person in the World<\/em>) portrays his psychotherapist, confronted with his mysterious disappearance. The ambitious <em><strong>Backrooms<\/strong><\/em> captures the loneliness of modern life and anxiety generated by cultural standardization.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Backrooms (2026) by Kane Parsons, currently out in theatres.<\/em><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Obsession | Official Trailer\" width=\"640\" height=\"360\" data-cookieconsent=\"statistics, marketing\" data-src=\"https:\/\/www.youtube.com\/embed\/gMC8kkwbIQQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><div class=\"cookieconsent-optout-statistics cookieconsent-optout-marketing\"><\/div>\n<\/div><figcaption class=\"wp-element-caption\">The trailer of <em>Obsession<\/em>\u00a0(2026).<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><em>Obsession<\/em>, the new &#8220;incel horror&#8221; gem<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Released at the same time as <em><strong>Backrooms<\/strong><\/em>, <em><strong>Obsession<\/strong><\/em> (2026) marks Curry Barker&#8217;s directorial debut. The 26-year-old American YouTuber and filmmaker wrote, shot and edited the film himself with less than one million dollars. The result is comparable to <em>Paranormal Activity<\/em> (2007), grossing more than $300 million worldwide.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">We follow Bear, a shy and lonely young man unable to confess his feelings to his co-worker Nikki. One night, he turns to a magical object to make her fall in love with him, without ever considering her consent or the tragic consequences that will follow.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Driven by two astonishing performances \u2014 <strong>Michael Johnston<\/strong> as Bear and, above all,<strong> Inde Navarrette<\/strong> as Nikki \u2014 <em><strong>Obsession<\/strong><\/em> belongs to the emerging trend of \u201cincel horror\u201d. This subgenre explores the darker sides of toxic masculinity and modern relationships. One can link it to films like <em><strong>Gone Girl <\/strong><\/em>(2014) or <em><strong>Don\u2019t Worry Darling<\/strong><\/em> (2022). Once again, the villain is not who the audience think\u2026<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Obsession (2026) by Curry Barker, currently out in cinemas.<\/em><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"CARRIE (1976) | Official Trailer | MGM Studios\" width=\"640\" height=\"360\" data-cookieconsent=\"statistics, marketing\" data-src=\"https:\/\/www.youtube.com\/embed\/j9Mg-GRS46Y?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><div class=\"cookieconsent-optout-statistics cookieconsent-optout-marketing\"><\/div>\n<\/div><figcaption class=\"wp-element-caption\">The trailer of <em>Carrie<\/em> (1976) by Brian De Palma.<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><h2><em>Carrie<\/em>, a horror masterpiece about female teenage rage<\/h2><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><p data-start=\"487\" data-end=\"836\">Nothing is more terrifying than the fury of a humiliated teenage girl\u2026 In <strong><em data-start=\"622\" data-end=\"630\">Carrie<\/em><\/strong> (1976), American director <strong>Brian De Palma<\/strong> adapts <a href=\"https:\/\/numero.com\/en\/culture-en\/movies\/on-netflix-5-disturbing-films-based-on-stephen-kings-novels-2\/\"><strong>Stephen King<\/strong><\/a>&#8216;s cult novel with surgical precision. A bloody Greek tragedy showing that horror stems not so much from monsters, but from social cruelty.<\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p data-start=\"838\" data-end=\"1194\">The film is remembered for its direction, alternating between virtuosic framing and hallucinatory slow motion. As well as for its iconic epilogue, a harbinger of modern horror cinema &#8211; personal trauma becomes the trigger for the supernatural. <em data-start=\"1073\" data-end=\"1081\">Carrie <\/em>paved the way for an entire lineage of films exploring the terror of the margins and the explosion of normality.<\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p data-start=\"1196\" data-end=\"1248\"><em>Carrie (1976) by Brian De Palma, available in VOD.<\/em><\/p><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Official Trailer: Suspiria (1977)\" width=\"640\" height=\"360\" data-cookieconsent=\"statistics, marketing\" data-src=\"https:\/\/www.youtube.com\/embed\/hPs2ExUL_bc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><div class=\"cookieconsent-optout-statistics cookieconsent-optout-marketing\"><\/div>\n<\/div><figcaption class=\"wp-element-caption\">The trailer of <em>Suspiria<\/em> (1977) by Dario Argento.<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><h2><em>Suspiria<\/em>, or horror as a chromatic ballet<\/h2><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><p data-start=\"1250\" data-end=\"1563\">With <strong><em data-start=\"1300\" data-end=\"1310\">Suspiria<\/em><\/strong> (1977), Italian director <strong>Dario Argento<\/strong> \u2014 father of actress <strong>Asia Argento<\/strong> \u2014 turns horror cinema into a baroque opera. Saturated colours, deafening music by Italian prog rock band <strong>Goblin<\/strong>, macabre choreography\u2026 Everything works to create a sensory universe.<\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p data-start=\"1565\" data-end=\"1846\">This cinematic nightmare conveys the idea that horror is not just about fear, but can also be an aesthetic experience. Here, each murder is designed as a fully visual and sonic sequence. <strong><em data-start=\"1736\" data-end=\"1746\">Suspiria<\/em><\/strong> left a lasting mark on contemporary cinema, and later inspired music videos and art-house productions.<\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p data-start=\"1848\" data-end=\"1902\"><em>Suspiria (1977) by Dario Argento, available on MUBI.<\/em><\/p><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"The Texas Chainsaw Massacre | 1974 Original Trailer\" width=\"640\" height=\"360\" data-cookieconsent=\"statistics, marketing\" data-src=\"https:\/\/www.youtube.com\/embed\/Q6GEBm2utN0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><div class=\"cookieconsent-optout-statistics cookieconsent-optout-marketing\"><\/div>\n<\/div><figcaption class=\"wp-element-caption\">The trailer of <em>The Texas Chainsaw Massacre <\/em>(1974) by Tobe Hooper.<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><h2><em>The Texas Chainsaw Massacre<\/em>, one of the cult classics in horror cinema<\/h2><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><p data-start=\"1904\" data-end=\"2270\">From the moment it premiered, <strong><em data-start=\"2011\" data-end=\"2040\">The Texas Chainsaw Massacre<\/em><\/strong> (1974) by <strong>Tobe Hooper<\/strong> shocked audiences with its radicalness. No supernatural monsters, just a portrait of America, consumed by its own urges and lingering trauma of the Vietnam War. The fear is realistic, raw, almost documentary.<\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p data-start=\"2272\" data-end=\"2628\">Shot on a shoestring budget, Tobe Hooper\u2019s feature establishes a gritty, jittery style that would later become the blueprint of any slasher. As for the character of <strong>Leatherface<\/strong>, a grotesque blend of absurdity and monstrosity, he embodies the unease of a society where savagery lurks at the margins. The film remains a cornerstone of American independent cinema.<\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p data-start=\"2630\" data-end=\"2703\"><em>The Texas Chainsaw Massacre (1974) by Tobe Hooper, available on Canal+.<\/em><\/p><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"The Shining - Official Trailer [1980] HD\" width=\"640\" height=\"360\" data-cookieconsent=\"statistics, marketing\" data-src=\"https:\/\/www.youtube.com\/embed\/S014oGZiSdI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><div class=\"cookieconsent-optout-statistics cookieconsent-optout-marketing\"><\/div>\n<\/div><figcaption class=\"wp-element-caption\">The trailer of<em> Shining <\/em>(1980) by Stanley Kubrick.<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><h2><em>The Shining<\/em>, or horror designed as mental architecture<\/h2><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><p data-start=\"51\" data-end=\"502\">With <strong><em data-start=\"108\" data-end=\"121\">The Shining<\/em> <\/strong>(1980), <a href=\"https:\/\/numero.com\/en\/culture\/guccis-tribute-to-director-stanley-kubrick-deciphered-2\/\"><strong>Stanley Kubrick<\/strong><\/a> adapts another one of <strong>Stephen King<\/strong>&#8216;s novels and builds a psychological labyrinth. While many viewers still prefer the book, what stands out here is the personnification of the Overlook Hotel, which becomes a character in its own right. iIts endless corridors trap <strong>Jack Nicholson<\/strong> until he becomes mad. <em data-start=\"413\" data-end=\"434\">The Washington Post<\/em> described the film as \u201c<em>a chilling exploration of the human psyche<\/em>.\u201d<\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p data-start=\"504\" data-end=\"850\">Here, terror emerges primarily from the setting and repetitions. The fluid tracking shots, nightmarish visions, and the electronic score by American composer <strong>Wendy Carlos<\/strong> create a hallucinatory atmosphere. <em data-start=\"714\" data-end=\"727\">The Shining<\/em> cemented the idea that horror can be entirely atmospheric and psychological, without forgetting the viscerally powerful imagery.<\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p data-start=\"852\" data-end=\"914\"><em>The Shining (1980) by Stanley Kubrick, available on HBO Max.<\/em><\/p><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"The Blair Witch Project (1999) |  Official Trailer\" width=\"640\" height=\"360\" data-cookieconsent=\"statistics, marketing\" data-src=\"https:\/\/www.youtube.com\/embed\/JwAi6ecK9dI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><div class=\"cookieconsent-optout-statistics cookieconsent-optout-marketing\"><\/div>\n<\/div><figcaption class=\"wp-element-caption\">The trailer of <em>The Blair Witch Project&nbsp;<\/em>(1999).<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><h2><em>The Blair Witch Project<\/em>: The origin of modern found footage<\/h2><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><p data-start=\"916\" data-end=\"1279\">In 1999, three students lost in a forest were enough to redefine horror. <strong><em data-start=\"1051\" data-end=\"1076\">The Blair Witch Project<\/em> <\/strong>(1999), directed by<strong> Daniel Myrick<\/strong> and <strong>Eduardo S\u00e1nchez<\/strong>, brought the<strong> found footage technique<\/strong> into the mainstream. The entire film unfolds as a supposedly authentic video recording shot by the protagonists in the story.<\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p data-start=\"1281\" data-end=\"1614\">Suggesting it was based on real events, the film\u2019s viral marketing campaign introduced a new way of spreading fear. Its grammar &#8211; shaky camera, nerve-wracking off-screens &#8211; continues to influence an entire generation of filmmakers and franchises, like<strong> <em data-start=\"1538\" data-end=\"1559\">Paranormal Activity<\/em><\/strong>. It is the art of concealment used to scare.<\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p data-start=\"1616\" data-end=\"1706\"><em>The Blair Witch Project (1999) by Daniel Myrick and Eduardo S\u00e1nchez, available on Filmo.<\/em><\/p><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Psycho - Trailer\" width=\"640\" height=\"360\" data-cookieconsent=\"statistics, marketing\" data-src=\"https:\/\/www.youtube.com\/embed\/BwVKSGu8wEA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><div class=\"cookieconsent-optout-statistics cookieconsent-optout-marketing\"><\/div>\n<\/div><figcaption class=\"wp-element-caption\">The trailer of <em>Psycho <\/em>(1960) by Alfred Hitchcock.<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><h2><em>Psycho<\/em>, a key thriller directed by Alfred Hitchcock<\/h2><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><p data-start=\"1708\" data-end=\"2082\">With <strong><em data-start=\"1765\" data-end=\"1773\">Psycho<\/em><\/strong> (1960), <strong>Alfred Hitchcock<\/strong> broke all the rules. Killing off the heroine forty minutes into the film shook the audience&#8217;s expectations. The iconic shower scene remains a foundational moment of cinematic fright, and has been analysed by generations of critics. A shock that forever changed the grammar of suspense on screen.<\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p data-start=\"2084\" data-end=\"2341\">In a mundane motel, an apparently harmless man, <strong>Norman Bates<\/strong> (played by <strong>Anthony Perkins<\/strong>), becomes one of the most iconic modern monsters of the horror genre. <strong><em data-start=\"2235\" data-end=\"2243\">Psycho<\/em><\/strong> didn\u2019t just terrify generations of watchers, it redefined what audiences come to expect from a horror story.<\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p data-start=\"2343\" data-end=\"2415\"><em>Psycho (1960) by Alfred Hitchcock, available on Canal+ and La Cinetek.<\/em><\/p><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"NIGHT OF THE LIVING DEAD Original Theatrical Trailer [1968]\" width=\"640\" height=\"480\" data-cookieconsent=\"statistics, marketing\" data-src=\"https:\/\/www.youtube.com\/embed\/DIuI6T48Sj0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><div class=\"cookieconsent-optout-statistics cookieconsent-optout-marketing\"><\/div>\n<\/div><figcaption class=\"wp-element-caption\">The trailer of <em>Night of the Living Dead<\/em> (1968) by George A. Romero.<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><h2><em>Night of the Living Dead<\/em>, or the horror as a political manifesto<\/h2><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><p data-start=\"70\" data-end=\"361\">With <strong><em data-start=\"140\" data-end=\"166\">Night of the Living Dead<\/em> <\/strong>(1968), <strong>George A. Romero<\/strong> crafted the modern zombie and anchored horror in current political events. At the time, <em data-start=\"277\" data-end=\"288\">The Times<\/em> underlined that \u201c<em>the film evokes racial tensions as much as the Vietnam War<\/em>.\u201d<\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p data-start=\"363\" data-end=\"664\">Casting a Black actor, <strong>Duane Jones<\/strong>, in the lead role gave the story an unprecedented dimension. And its brutal ending, mirroring the violence of the era, marked a turning point\u2026 Horror then became a social criticism. The film paved the way for decades of political cinema disguised as genre film.<\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p data-start=\"666\" data-end=\"961\">The political weight of the film crystallises in its ending. The Black hero and the sole survivor, <strong>Ben<\/strong>, is coldly shot by a white militia mistaking him for a zombie. The image directly echoes the racial violence and lynchings happening at the time, definitively embedding horror into the American social context.<\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p data-start=\"963\" data-end=\"1050\"><em>Night of the Living Dead (1968) by George A. Romero, available on Amazon Prime Video.<\/em><\/p><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Alien (1979) Trailer\" width=\"640\" height=\"360\" data-cookieconsent=\"statistics, marketing\" data-src=\"https:\/\/www.youtube.com\/embed\/LjLamj-b0I8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><div class=\"cookieconsent-optout-statistics cookieconsent-optout-marketing\"><\/div>\n<\/div><figcaption class=\"wp-element-caption\">The trailer of <em>Alien <\/em>(1979) by Ridley Scott.<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><h2><em>Alien<\/em>, or when science fiction turns into visceral horror<\/h2><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><p data-start=\"1052\" data-end=\"1615\">With <strong><em data-start=\"1108\" data-end=\"1115\">Alien<\/em><\/strong> (1979), <strong>Ridley Scott<\/strong> fused science fiction and pure horror. The spaceship becomes a suffocating, enclosed space where the unknown emerges from the depths. The xenomorph, created by<strong> H.R. Giger<\/strong>, embodie both sexual and biological anxieties. Even before the film became a serious project \u2014 and one of the greatest horror films in history \u2014 screenwriter<strong> Dan O\u2019Bannon<\/strong> was already dreaming about the <em>Chestburster<\/em> scene. A monster whose terrifying modus operandi would leave a lasting mark on cinema history.<\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p data-start=\"1617\" data-end=\"2005\">Together with Swiss artist <strong>Hans Ruedi Giger<\/strong>, he imagined a dark, majestic, and overwhelming futuristic world. Their inspirations were manifold. Including the writings of <strong>Lovecraft<\/strong>, <a href=\"https:\/\/numero.com\/en\/art\/art-art\/bill-skarsgard-pays-tribute-to-francis-bacon-in-an-exclusive-video-2\/\"><strong>Francis Bacon<\/strong><\/a>\u2019s 1944 triptych <em data-start=\"1818\" data-end=\"1874\">Three Studies for Figures at the Base of a Crucifixion<\/em>, and Greek mythology, particularly the Erinyes (or Furies) &#8211; infernal deities who pursued wrongdoers, sometimes on behalf of Hades.<\/p><br\/><p data-start=\"2007\" data-end=\"2158\">The project was never marketed as a space odyssey, but rather as a horror movie. The poster tagline said it all: \u201c<em>In space, no one can hear you scream<\/em>.\u201d<\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p data-start=\"2160\" data-end=\"2213\"><em>Alien (1979) by Ridley Scott, available on Disney+.<\/em><\/p><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"THE EXORCIST - Trailer - (1973) - HQ\" width=\"640\" height=\"360\" data-cookieconsent=\"statistics, marketing\" data-src=\"https:\/\/www.youtube.com\/embed\/YDGw1MTEe9k?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><div class=\"cookieconsent-optout-statistics cookieconsent-optout-marketing\"><\/div>\n<\/div><figcaption class=\"wp-element-caption\">The trailer of <em>The Exorcist<\/em> (1973) by William Friedkin.<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><h2><em>The Exorcist<\/em>, when horror targets the sacred<\/h2><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><p data-start=\"2215\" data-end=\"2740\">With <strong><em data-start=\"2271\" data-end=\"2285\">The Exorcist<\/em> <\/strong>(1973), <strong>William Friedkin<\/strong> confronted audiences with the unthinkable\u2026 The demonic possession of a child. This time, horror became metaphysical. The violence of the imagery, including convulsions, blasphemy, a body in torment, remains shocking to this day. Yet, the pith of the feature lies in its clinical direction. Its realism only heightens the terror. <em data-start=\"2626\" data-end=\"2640\">The Exorcist<\/em> turned cinema into a spiritual battleground, asking the ultimate question &#8211; what lies beyond reason?<\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p data-start=\"2742\" data-end=\"3159\"><strong><em data-start=\"2271\" data-end=\"2285\">The Exorcist<\/em><\/strong> is also one of the most controversial films in cinema history. Upon its release, audiences fainted in theatres, shocked by its graphic imagery. The confrontation between science and faith, staged with a documentary-like austerity, redefined the limits of what horror could show. Fifty years later, the film\u2019s legacy remains untouched. Every story of possession still owes its visual and sonic language to <em data-start=\"3144\" data-end=\"3158\">The Exorcist<\/em>.<\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p data-start=\"3161\" data-end=\"3221\"><em>The Exorcist (1973) by William Friedkin, available in VOD.<\/em><\/p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>From Psycho (1960) to The Shining (1980), The Blair Witch Project (1999) and the dystopian [&#8230;]<\/p>\n<p><a class=\"btn btn-secondary understrap-read-more-link\" href=\"https:\/\/numero.com\/en\/culture-en\/movies\/9-horror-films-that-revolutionized-the-genre-to-rewatch-for-halloween\/\">Read More&#8230;<span class=\"screen-reader-text\"> from 11 revolutionary horror films to (re)discover<\/span><\/a><\/p>\n","protected":false},"author":12,"featured_media":861367,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[88,87],"tags":[9957,9956,9892,9955],"class_list":["post-752069","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-movies","category-culture-en","tag-brian-de-palma-en","tag-dario-argento-en","tag-films-dhorreur-en","tag-stanley-kubrick-en"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>9 revolutionary horror movies to (re)discover<\/title>\n<meta name=\"description\" content=\"Discover 9 must-watch films that have revolutionized the horror genre, from The Shining to Alien and The Exorcist.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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