Fresh Screams: Five Horror Films to Stream (June 15-21)
Five horror films about revenge, reckoning, and righteous fury—from feminist rage to social-media satire and supernatural vengeance.
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Revenge has always been a staple of the genre. Whether it’s fueled by grief, injustice, guilt, rage, or centuries of oppression, revenge stories tap into something deeply human. They allow us to imagine a world full of consequences, collected debts, and divine retribution. This week’s Fresh Screams is a tribute to that spirit of payback and comeuppance.
A lonely man falls for a cannibal who targets society’s worst predators. A grieving ranch hand finds himself trapped in a nightmare shaped by one disastrous decision. A group of women transforms from victims into avenging forces. A columnist decides she’s had enough of online abuse. And a Māori woman returns to confront the colonial violence that stole her family, her history, and her identity.
If that isn’t enough vengeance for one week, a previous Fresh Screams rental pick has now found a streaming home. Kirill Sokolov’s gloriously unhinged They Will Kill You recently landed on HBO Max, making it a perfect companion piece to this almost entirely female-driven lineup.
Featuring a fierce performance from Zazie Beetz, outrageous practical gore, and enough blood-soaked mayhem to satisfy even the most demanding splatter fan, it’s one of the year’s most entertaining revenge-fueled thrill rides.
Now, let’s settle some scores.
1. Cannibal Mukbang (Shudder – June 15, 2026)
Aimee Kuge’s feature directorial debut, Cannibal Mukbang (2023), is a low-budget satirical horror-romance about the desire to let love consume us at any cost.
We follow Mark (Nate Wise), a shy customer service representative with a history of brain trauma, who meets a beautiful and quirky woman named Ash (April Consalo) at a supermarket. After an accident where she hits him with her car, she takes him home to nurse him, and they begin a slow, strange romance.
He learns she makes a living as an online “mukbanger”—streaming herself eating massive quantities of food. However, as he becomes more enamored with her, he learns she’s got a much darker, stomach-churning secret: she eats people. Operating as a Dexter-style vigilante, she targets society’s worst predators, including rapists, abusers, and murderers. She then consumes them as a way to dispose of the bodies and bite back against patriarchal violence.
Beneath the graphic gross-out horror elements, Cannibal Mukbang functions as a dark character study on the crushing weight of modern loneliness.
Mark is so desperate for love and belonging that he ignores this massive, violent red flag and becomes her literal partner in crime, helping her hunt and dispose of bodies out of sheer devotion. It’s a smart and gruesome look at the terrifying lengths to which isolated individuals will go to feel loved and accepted.
There’s also a strong feminist perspective. Once the film strips away the “Manic Pixie Dream Girl” facade, Ash’s cannibalism is explicitly framed as a radical, albeit deeply unhinged, weapon of gendered retaliation. It’s an exploitation-style response to systemic misogyny.
The film effectively deconstructs the traditional rom-com power dynamic, showing a passive man completely rewired by a woman’s uncompromising, destructive rage. It’s bold, fearless, and packed with razor-sharp social satire, dark humor, and enough stomach-churning imagery to leave a lasting impression.
Tune in if you crave a fiercely original, midnight-movie oddity that pushes boundaries in the best way.
2. The Wait (Shudder – June 8, 2026)
Francisco Javier Gutiérrez’s The Wait (La Espera) is the kind of slow-burn folk horror that rewards patience.
What begins as a gritty rural drama set in the sun-baked, sweaty Spanish countryside of 1970s Andalusia gradually transforms into something much darker and more spiritually unsettling.
The story follows Eladio, a ranch caretaker whose decision to accept a shady bribe to add extra hunting stands to the estate sets off a chain of devastating, blood-soaked consequences. From there, the film becomes a haunting, “Monkey’s Paw” tale of guilt, class divides, and the unsettling possibility that some people are doomed long before they make their fatal mistake.
Víctor Clavijo is phenomenal as a man slowly crushed beneath grief, regret, and forces he can barely comprehend.
He delivers a tightly wound, deeply physical performance.
Gutiérrez favors a dry, dusty atmosphere over cheap jump scares, letting dread build naturally as Eladio sinks deeper into isolation and despair.
By the time The Wait fully embraces its supernatural leanings—veering into sordid Iberian gothic territory and shocking practical body horror—the payoff is genuinely chilling.
Tune in if you like your horror steeped in oppressive atmosphere, moral ambiguity, and creeping, inescapable doom.
3. Find Your Friends (Shudder – June 12, 2026)
Written and directed by Izabel Pakzad in her feature debut, Find Your Friends (2025) is an intense survival thriller with a heavy nod to 1970s exploitation cinema. It’s a complicated, exceptionally mean descent into raw tension and ugly chaos.
The story centers around a group of dysfunctional LA friends (Helena Howard, Bella Thorne, Zión Moreno, Chloe Cherry, Sophia Ali) embarking on a hedonistic weekend getaway. But this annual girl trip is tainted from the start, quickly moving from a messy party into a brutal, bloody fight for survival and revenge.
While the external threat comes from a group of local predators, the film’s most punishing critique targets the group’s toxic friendship dynamics.
Pakzad explores the devastating impact of internalized misogyny among young women who prioritize self-gratification over collective safety.
Shifting from psychological drama to midnight movie slasher, Pakzad refuses to pull punches as the film barrels toward its explosive finale. The third act features an unforgettable crescendo of feminine rage and visceral horror.
Tune in if you’re into a bold, uncomfortable, and fiercely original look at modern womanhood colliding with grindhouse horror.
4. The Columnist (Shudder – June 15, 2026)
Making its triumphant return to Shudder this month, Ivo van Aart’s The Columnist (2019) is a Dutch black-comedy horror that rewards anyone who has ever put a creative work out into the universe and felt the sting of public opinion.
It’s a resonant look at modern internet toxicity that slowly and wickedly transforms into a bloody, cathartic revenge fantasy with satisfying “fuck around and find out” energy.
Femke Boot (a mesmerizing Katja Herbers) is an outspoken newspaper columnist whose decision to stop ignoring the endless stream of graphic death threats and misogynistic abuse on her social media pages sets off a chain of devastating consequences. Armed with a newfound determination to make her harassers realize that words have real-world consequences, Femke begins tracking down her trolls, confronting them, and collecting their typing fingers as macabre souvenirs.
What makes the film so effective is its refusal to offer easy answers.
Femke is both sympathetic and deeply alarming, forcing viewers to wrestle with the line between righteous anger and vigilantism.
The result is a sharp satire of online culture that understands how exhausting and dehumanizing constant digital harassment can be while still recognizing the danger of letting rage consume you.
Tune in if you like horror steeped in sharp media satire, pitch-black humor, and a literal manifestation of “never read the comments section.”
Marama (pVOD)
Written and directed by Taratoa Stappard in his spellbinding feature debut, Mārama (2026) is a searing, atmosphere-driven Māori gothic-horror film.
Set in 1859, the narrative follows Mary Stevens (Ariāna Osborne), a 26-year-old Māori woman who was raised in Europe, stripped of her birth name and genealogy. After receiving a mysterious letter from an Englishman promising crucial information about her long-lost birth parents, Mary undertakes an arduous 73-day sea voyage from New Zealand to Whitby, England.
Upon her arrival at the isolated, oppressive Hawkser Manor in North Yorkshire, she discovers her informant has suddenly died. Stranded and penniless, she begrudgingly accepts a position as a governess for the granddaughter of the estate’s wealthy owner, Sir Nathaniel Cole (Toby Stephens).
The manor is a living mausoleum of colonial theft.
Soon, Mary’s latent abilities as a seer awaken.
Plagued by horrific, bleeding visions of ancestral violence, she uncovers the gruesome truth about Sir Nathaniel’s past atrocities in her homeland, prompting her to reclaim her identity and embark on a blood-soaked path.
With a fierce lead performance, suffocatingly beautiful visuals, and a haunting and evocative soundscape, the film builds a heavy sense of cosmic and historical doom and slow-burning dread. It’s a stunning, boundary-pushing milestone for contemporary Indigenous genre cinema.
Tune in if you crave a stylish, culturally urgent, and deeply cathartic revenge fantasy that allows an Indigenous voice to haunt the halls of its colonizers.
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