Noir horror has come a good distance since the first noir horror, “The Goose’s Son,” in 1940. While this early film and others prefer it hold a crucial place in the history of the genre, there is no such thing as a denying that black horror evolved from offering low cost thrills and cutscene scares to becoming a strong medium for social commentary and alter.

The New Wave of Black Horror Films

Black horror movies have experienced a resurgence lately. And it’s not nearly thrills and kills. These movies are used as vehicles for racial and social commentary, often in complex or nuanced ways.

One of the most prolific black horror directors is Jordan Peele. While he’s widely known for his comedic work on Key & Peele, Peele has carved out a brand new, vital space for himself — and plenty of others — in a genre that has historically lacked black representation. His visionary work in Get Out and This Is Us has solidified his place as a number one auteur in the field. While Peele could also be the biggest name, he’s not the just one. There are loads of black horror movies that deserve your attention.

“Get Out!” (2017)

Jordan Peele’s 2017 hit Get Out is a milestone in the black horror genre. The symbolism is rife as black Chris Washington and his white girlfriend, Rose Armitage, navigate a journey to her family’s secluded estate. Unlike other works that cope with overt racism and prejudice, Get Out explores a more insidious kind that is commonly wrapped in white good intentions.

On the other hand, the auction scene, by which Rose’s father wages a disturbingly quiet bidding war for Chris, is an unabashed depiction of the commodification and exploitation of black bodies. Chris is effectively sold to the highest bidder in a game of bingo that originally seems benign but then, like systemic oppression, seems to be much more sinister.

“We” (2019)

Peele’s follow-up to Get Out was 2019’s Us , which uses horror to dissect a myriad of issues, including class, identity, and social injustice. When a young girl is confronted by her doppelgangers at a carnival, it begins a lifetime of haunting that culminates when she returns to the location along with her family as an adult. The family is confronted by a gaggle of doppelgangers who claim to be called the Tethered.

The imprisoned function a metaphor for the underprivileged and forgotten amongst us. They are similar in every way, yet treated as a lower class of residents deserving of shame and fear. They are unable to dictate their very own lives, and chaos unfolds as they stand up against their oppressors.

“No” (2022)

“Nope” is a horror film with exploitation themes in the entertainment industry. Spectacle and consumption are at the heart of this gripping horror film that follows a pair of siblings attempting to capture UFO footage. They know that capturing and monetizing their discovery may very well be the financial lifeline their ranch needs, however it opens up questions on what it means to commodify something extraordinary for private gain.

Gordy the chimpanzee is one other tragic example of exploitation and what happens when creatures in captivity are pushed to their limits. His massacre at the party is a brutal reminder that everybody – even nature – has a breaking point, and it’s best for everybody not to seek out out what that time is the hard way.

“The Nanny” (2022)

“The Nanny” is a story about how the American dream can often change into a nightmare for black immigrants, written and directed by Nikyat YusuSierra Leonean-American filmmaker. The film weaves together West African mythology and the story of Aisha, a Senegalese immigrant who leaves all the pieces—including her young son—back home to hunt a greater life in New York City.

One of the central themes of “The Nanny” is Aisha’s experience as an immigrant, and watching her struggle as an underpaid and overworked domestic employee reinforces the each day horrors that many immigrants face. Mother Moon is a water deity in West African tradition and effectively serves as one other character in the film. In West African folklore, Mami Wata symbolizes the dual nature of water – its power to lift or drown its inhabitants.

“Angry Black Girl and Her Monster” (2023)

This SXSW Darling debuted in 2023 and was picked up for streaming later that yr. The story reimagines Mary Shelley’s Frankenstein with a young, vivid girl named Vicaria, played by actress Laya DeLeon Hayes. Systemic violence is embedded in the film, as her mother and brother are killed by gun violence.

Vicaria is an incredibly intelligent, hopeful girl who believes she will bring her brother back to life, which might be interpreted as a rejection of the trauma and loss that usually shape young black lives. When her brother is resurrected, his own violent tendencies force viewers to think about how trauma affects survivors and perpetuates the cycle of violence that so many attempt to escape.

The Future of Black Horror

The success of so many dark horror movies proves that it’s not only a genre that’s viable, but one which audiences are desirous to support and explore. Thankfully, audiences don’t must wait too long for an additional dark horror film, as director Jordan Peele has revealed that he has one other project in the works, set to premiere in 2026.

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