#100HorrorMoviesIn92Days 2026 – Films 91-100

Screenshot of the posters for films 91-100 listed below in the post.
Films 91-100
  • An Taibhse/The Ghost (2024) dir. John Farrelly, written by John Farrelly. This was apparently the first Horror movie to be released in Irish, but Fréamhacha/Frewaka had its wide release the same year. An Taibshe didn’t get a wider release of its own until 2026, when it was picked up by Prime. This is a rough watch – not perfect, but very atmospheric, claustrophobic, and disturbing. Child abuse & alcoholism alert. Amid the barren landscape of post-famine Ireland, a father and daughter struggle to survive the brutal winter as caretakers of a remote mansion, only to be driven to the edge of sanity by the horrors lurking within.
    {Ireland}
  • La casa muda/The Silent House (2010) dir. Gustavo Hernández, written by Oscar Estévez, from an original story by Gustavo Hernández and Gustavo Rojo, allegedly based on a true event that happened in the 1940s in a Uruguayan village. I saw the remake of this with Elizabeth Olsen that came out the year after, and after traumatising myself with An Taibhse, thought I’d watch this as well for compounded fractures to my psyche. Laura and her father Wilson arrive at a cottage off the beaten path in order to repair it since its owner will soon put the house on sale. They will spend the night there in order to start the repairs the following morning. Everything seems to go on smoothly until Laura hears a sound that comes from outside and gets louder and louder in the upper floor of the house. Wilson goes up to see what is going on while she remains downstairs on her own waiting for her father to come down. The plot is based on a true story that occurred in the 1940s in a small village in Uruguay. La casa muda focuses on the last seventy eight minutes, second by second, as Laura tries to leave the house unharmed and discovers the dark secret it hides.
    {Uruguay}
  • Saint Maud (2019) dir. Rose Glass, written by Rose Glass. I knew this was going to be a rough watch, and it was. It’s a really interesting piece of Welsh Gothic though, and a very tense psychological horror. The deterioration of Katie/Maud is really disturbing, and it’s more about (I think) the consequences of untreated and unrecognised mental illness crossing into religious fanaticism, but leaning into the religious fervour and tension of Welsh Revivals as well. I liked this. Having recently found God, self-effacing young nurse Maud arrives at a plush home to care for Amanda, a hedonistic dancer left frail from a chronic illness. When a chance encounter with a former colleague throws up hints of a dark past, it becomes clear there is more to sweet Maud than meets the eye.
    {UK}
  • You Should Have Left (2020) dir. David Koepp, written by David Koepp, based on the novella by Daniel Kehlmann (origianlly in German, but translated into English). I really wish the film had gone more Weird Fiction with the impossible angles, or even made use of the Welsh setting in any way… I think that would have been a much better and more inventive story than what we ended up with. In Kehlmann’s novella, the house was built by a wizard, and Wales has a lot of wizard myth, and they went with something more prosaic by comparison. In an effort to repair their relationship, a couple books a vacation in the countryside for themselves and their daughter. What starts as a perfect retreat begins to fall apart as one loses their grip on reality, and a sinister force tries to tear them apart.
    {USA}
  • The Cat and the Canary (1927) dir. Paul Leni, written by Walter Anthony, Robert F. Hill, and Alfred A. Cohn, based on the stage play by John Willard. As I enjoyed the British version, the Italian version, and the Mexican version, I thought we’d go with the original Universal Studios version. I didn’t find this one as funny as the British one, and obviously it’s nowhere near as slapstick as the Mexican one, and it’s not as batshit unhinged as the Italian one. I think I regret seeing it last, as it’s a good piece of silent cinema, but it’s not quite as thrilling for me as the others. Still, really good! A group of potential heirs gather in a forbidding old house to learn which of them will inherit a fortune. Later, they learn that a flesh-rending maniac is loose.
    {USA}
  • İfrit’in Diyeti: Cinnia (2016) dirs. Sahin Yigit and Özgür Özberk, written by Ibrahim Hakki Öztürk. Not the best, this one, but it’s a fun way to pass the time if you don’t mind Elif screaming every five seconds. I found it a bit choppy, but the twist did please me. Based on real events. What do you think will happen if three close friends decide to make a film, especially one about jinn, and ask for help from a Mühr-ü Vekil they don’t know? Murat and Yusuf are two good friends who share the same house and have a bond of destiny. Elif is Murat’s one and only love. These three young people decide to make a horror film centered on the theme of jinn. In search of a solid story, they seek the help of a Mühr-ü Vekil living in the area, unaware that they will become the main characters in the horror story they are seeking, and end up experiencing the horror of their own story.
    {Turkiye}
  • Siccîn 9 (2026) dir. Alper Mestçi, written by Alper Mestçi. Wake up babe, the Bloodline Curse just dropped! Here’s the latest in the franchise, it’s as batshit as the rest of them, Orhan is back, and we’re basically facing two plots at once with a lot of surrealism weaving the viewing experience together into whatever this is. This one has pregnancy horror, and the curse is kicked off thanks to a violent act perpetrated by an intellectually disabled man. Lots of warnings. I would put the description of the film here, but neither Letterboxd nor IMDb actually accurately describe what the film is about or who anyone is in relation to each other, so that would just make it more confusing.
    {Turkiye}
  • Üç Harfliler: Nazar (2024) dir. Melodi Tözüm, written by Melodi Tözüm. (I’m going off her IG – I think the IMDb bio has mistranslated the Turkish neutral pronoun ‘o’ as ‘he’ when it also means ‘she’ or ‘it’.) This one tackles violence against women and girls, and the avenues open for their vengeance and reclamation of their agency. It’s worth noting that in the description of the film, the majority of what it describes happens with a broad brush in the first 10min. Zeliha makes a deal with the three-lettered ones in the hope of having a grandchild. However, she must give them her granddaughter Nazar when she reaches puberty and takes her first steps into womanhood. When the time comes, her son and daughter-in-law do not honor the agreement, so they are sacrificed by the three-lettered ones in exchange for Nazar. Facing a harsh fate, Zeliha renounces the spell and decides to dedicate her life to her granddaughter. That is, until Nazar is sexually abused and brutally murdered at the age of 17. The painful death of her granddaughter awakens a desire for revenge in Zeliha, but this time on a deeper and darker path.
    {Turkiye}
  • Üç Harfliler 3: Karabüyü/Three Letters: Black Magic (2016) dir. Alper Mestçi, written by Alper Mestçi. Melodrama amped up to 11 with this one. I think I preferred Nazar, but this has Mestçi’s signature all over it and I enjoy that. I’m using the IMDb description as that makes more sense (edited by me . Kadir is a man victimized by his mother’s black magic to separate him from every woman, including his wife, that would ever think of approaching him But things go contrary to his mother’s expectations.
    {Turkiye}

And that takes us to 100! I have some bonus films as well, and I have a post to go up with the full 100 films in the list. That post will share the Top 10 of 100, the full list of countries and the number of films watched from each one, and all the films written/directed by women.

#100HorrorMoviesin92Days