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Shocking Sex Movies

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What are the most disturbing movies ever made? Here we catalog the most shocking movies in cinematic history.
Horror cinema is by default disturbing and shocking.
The horror genre is built upon a subversive narrative structuring that mirrors back the worst aspects of human nature. Or, alternatively, it offers a revolutionary new way of looking at the world and thus horrifies audiences.
Perhaps you can judge how free a society is by how many horror movies they’re making. Totalitarian societies don’t allow horror movies because they undermine grand narratives, exposing all-too-human tendencies toward revolution, perversion, abuse, and the terrifying reality of the ever-present force of violence as well as the sheer complexity of being.
Indeed, modern China doesn’t have horror movies, although Hong Kong does . North Korea doesn’t even have a real film industry. In more repressive Middle Eastern countries, horror movies are an underground phenomenon. Historical regimes such as the Soviet Union in Russia and the Nazis in Germany repressed all horror cinema .
In a sense, then, the role of the macabre in mainstream cinema is an interesting barometer of a society’s openness. How far are filmmakers allowed to go without censorship?
How much is too much? At what point are things too violent? Too obscene? Too triggering? Too unwatchable? When do they cease being horror movies and become unbearably profane to a respective culture?
The United States, Italy, Japan, and France have produced some of the most shocking movies of all time, movies that went so far that they become not just shocking and disturbing but unwatchable.
While the United States and France have always made transgressive films, Italy’s horror boom corresponds with the fall of Italian fascism. In Italy, once the shackles of an oppressive top-down regime were unlocked, a flurry of insanely violent and obscene imagery was unleashed that was so extreme, it created some of the most shocking films ever made. A similar logic is at work within Japanese cinema after Hiroshima and the end of World War II.
The atrocities of the Holocaust so deeply damaged the German psyche that to this very day, German cinema still consciously and subconsciously censors itself. While the USSR has fallen in Russia, the one-party state Communist Party mentality reigns, and much of what is classified as Russian horror cinema is more like Gothic fairy tales than traditional horror.
This list attempts to provide the most comprehensive survey of the most disturbing horror films ever made worldwide. “Horror” here has many definitions and is defined as simply movies that make audiences recoil and say “I can’t watch this.”
The cataloging effort spans everything from movies with characters too despicable to watch to movies with unbearable torture scenes and sexual violence. There are also movies where the subject matter is just too sad to watch, too real, too boring, too absurd, too cinematographically nauseating, or just too much of a nail-biter to finish without eating your hand off. There are a few simply bad movies as well.
We exclude pornographic films unless they became an actual mainstream phenomenon and also have excluded any films that don’t include actors.
Regarding the ranking methodology, it is rather subjective. The first few movies are disturbing only within their historical context. As you move further and further down the list, though, the movies become increasingly explicit in what makes them unwatchable. So, for instance, while mainstream audiences might be able to stomach the first 25 movies, they might not be able to handle the last 25.
Still, the ranking itself should be taken with a grain of salt — and admittedly we haven’t even seen some of the greatest offenders on this list all the way through. Again, as a second disclaimer, the rankings are relatively arbitrary and simply a rhetorical method for scanning the list easily. You can’t rank misery. They’re all horrible, as far as we’re concerned.
Obviously, the contents of these movies and the corresponding imagery are triggering, and certainly not safe for work. Proceed with caution, ye who enter here.
What is more unwatchable than a real snuff film? If you can think of something more terrible, good riddance. That’s what originally made this X-rated 70s flick about a Charles Manson-like cult so controversial. The film seems to include a real snuff film at the end, where the camera operators and film crew make their presence known and kill a woman while filming the movie. The directors helped spread the rumor that it was a real snuff film, which led to a massive uproar of controversy. Needless to say, it was a hoax and there is not an actual murder in this film.
Twenty-first-century audiences would not be scared or even shocked by Psycho . That said, it needs to be included here because when the movie came out in its historical context, people were not ready to see a beautiful female lead character (Janet Leigh) killed off before the film was half-over, and they definitely were not equipped in 1960 to deal with themes of matricide and possible incest. It is said that the scene where Janet Leigh is stabbed to death in the shower is the most-watched scene in film history, so the film obviously isn’t totally “unwatchable.” However, it offers no redemption or sunshine at the end, which is why it was considered so shocking upon its release.
This film brought brutal violence to the forefront in American cinema. Long before Quentin Tarantino became a household name, Sam Peckinpah was churning out super-violent films with no happy Hollywood endings. To his chagrin, though, moviegoers lapped it up, and he would later claim that his mission as a director had been a failure:
The point of the film is to take this façade of movie violence and open it up, get people involved in it so that they are starting to go in the Hollywood television predictable reaction syndrome, and then twist it so that it’s not fun anymore, just a wave of sickness in the gut … it’s ugly, brutalizing, and bloody awful; it’s not fun and games and cowboys and Indians. It’s a terrible, ugly thing, and yet there’s a certain response that you get from it, an excitement, because we’re all violent people.
Eli Roth’s Knock Knock brings the theme of revenge to an absurd extreme. A wealthy and likable family man played by Keanu Reeves is put in an odd situation, as two young girls who are complete strangers approach his door on a rainy night in a Californian suburb. This movie is psychologically disturbing because of cringe sex, wicked characters, and the inappropriate consequences of the decisions made, particularly by the family of Reeves’s character.
In this Michael Haneke remake of his own 1997 original, two preppie psychopaths stage a home invasion and relentlessly torture a family both mentally and physically. They are constantly mentally tortured and body-shamed. One scene involves the family matriarch being forced to find her dog that one of her tormenters has just clubbed to death. The family patriarch has his leg broken with a golf club. During all of their torments, they are informed that killing them would ruin all the fun of the games. Then, finally, they get killed. Criterion.com stated: “Haneke wants to make an “unwatchable” film—one that disturbs us with its cruelty—but the only way to do that is to make a film that is supremely watchable, one that we cannot simply turn off, or leave. In this sense, the director is like a drug dealer who keeps plying us with just enough of his product to make us beg for more.”
Because The Exorcist has become such a mainstay of popular culture, it’s easy to forget that it also a plain horrifying film, if not one of the scariest horror movies of all time. Let’s not forget the fact that when this movie first came out it made people so dizzyingly scared, movie theaters handed out vomit bags with every movie ticket. And it’s not just the endless satanic atrocities and green vomit, either: Many viewers reported feeling physically nauseous at the scene where Linda Blair’s character undergoes a spinal tap.
Anemic Cinema or Anémic Cinéma (1926) is a Dadaist film from Marcel Duchamp and one of the first anti-films ever made. It’s one of the earliest signs of artists finding the new technology of film and deliberately using it to annoy and infuriate audiences with anti-narrative and dizzying visuals. By 21st-century standards, the film has no shock value, but imagine how repulsive (or mesmerizing) it was when it first came out and the film was still a new medium. We’ll stick to books, thank you very much.
This foreign flick made by a husband and wife is by no means disturbing or groundbreaking in the feminist landscape of the modern era. However, And God Created Woman is the first depiction of a woman in cinema who was sexually more adventurous and harder to be tamed than a man. The film portrayed women in a new way that broke ground for a new sexual and political reality, and is an important part of cinematic history.
Whether you view Quentin Tarantino’s nod to Hong Kong gangster movies as an homage or an outright plagiarism, this film made him a star due to its unremitting violence, which the New York Daily News said made “ Scorsese’s Mean Streets seem nearly as tame and gun-shy as a Sunday school outing…this is a movie for the strong of stomach.” The review also compared Tarantino unfavorably to Sam Peckinpah, saying his “movies have true grit and real substance…whereas Reservoir Dogs leaves one feeling cheated in the end.”
Mark this avant-garde Andy Warhol film as one of the most boring and longest films of all time. Andy Warhol rightfully called it an “anti-film,” and it goes against the grain of all narrative and filmmaking structures that make movies enjoyable. It’s just five hours of a man sleeping, looped.
A couple and three adult children live in a fenced-in compound wherein the parents have kept their children entirely unaware of the outside world. Scenes involve pedophilic sex, animal torture, and sadistic “endurance games” that the children play on one another to assuage their boredom.
This horror thriller from the 1970s has two rape scenes and one scene of an excruciatingly violent torture scene of an older couple. The way all the characters, but particularly Alex, are driven by violence is enough to make viewers turn this movie off right away. Based on the dystopian novel by Anthony Burgess, the title of A Clockwork Orange refers to an overreaching governmental experimental program that rendered young gang leader Alex DeLarge (Malcolm McDowell) a weak eunuch who could no longer defend himself because the medical therapy made him get physically sick whenever he encountered violence. The film, which was nominated for a Best Picture Academy Award, was rated “X” sheerly for its violent content. And at the end—when Alex is “cured” by returning to his sociopathic and ultraviolent ways—offers no redemption.
Banned upon its release for an extremely graphic scene of a child’s death as well as scenes of unsimulated sex, this offering from transgressive Danish auteur Lars von Trier was conceived while von Trier was bed-bound with an extreme case of depression. A critic for TIME magazine sensed this and said Antichrist “presented the spectacle of a director going mad.” At its premiere in Cannes, moviegoers covered their eyes in horror, and at least four separate attendees were said to have fainted from shock.
If your idea of a good time is grabbing some popcorn, candy, and soda, and watching a cop be stabbed to death with knitting needles, and seeing a Caesarean section performed on a woman whose face has been burned off with a cigarette and an aerosol can, this is the feel-good film for you. Bloody Disgusting gave Inside high praise, calling it “one of the scariest movies I have ever seen in my life” and adding, “This is quite possibly the most violent, realistic and bloody slasher film ever assembled, ending on such a gut-wrenching note that there’s not a single person who could walk out of that theater feeling normal.”
John McNaughton’s Henry is about a psychopathic young man who goes on violent murdering sprees with impunity. It was loosely inspired by the tales of serial killer Henry Lee Lucas . Though many of his stories of murder turned out be lies and fabrications—after all, he confessed to over 300 killings—he was convicted of at least three confirmed killings. Due to violence and the subject matter, the film was widely censored and given an X rating, which at the time was normally reserved for pornographic movies.
Unlike other horror films, it earned an unconditional X rating from the Motion Picture Association of America (MPAA). Ordinarily, when the MPAA issues an X it also stipulates changes that can be made to merit the more box-office-friendly R rating. But in Henry ‘s case, no such stipulations were offered. The problem with the film was its overall “disturbing moral tone”.
German fascism and sexual abuse are considered two of the most heinous facets of the human experience, and yet this exploitation film combines them in the form of Ilsa—a sadistic concentration camp officer who uses male prisoners like so many throwaway Kleenexes. Based loosely on the story of real-life Nazi Ilse Koch, Ilsa features graphic scenes of castration, medical torture, and rape, leading film critic Gene Siskel to call it “the most degenerate picture I have seen to play downtown.”
In his directorial debut, Australian filmmaker Justin Kurzel’s crime drama The Snowtown Murders recalls a true story of a group of serial killers that operated in Adelaide, South Australia between August 1992 and May 1999. The fact that movie is based on real violence and real murders makes the plot all the more revolting and terrifying. Adding another layer of obscenity, the director chose to include several graphic depictions of violence that led film critic Peter Bradshaw to call the Snowtown “a gruesome and often unwatchably violent film.”
A young high-school student named Pauline hopes to become a doctor. She also realizes that the sight of blood can lead her to orgasm. Gruesome imagery includes a nighttime sex dream in which a bed becomes filled with blood and a scene where Pauline conducts an impromptu lung transplant in her backyard—the latter of which alone makes the film unwatchable.
While this 70s hardcore porno might be tame by modern standards, the reason this movie belongs in a disturbing film list is because this movie entered pop culture territory made “Linda Lovelace”—the screen name of Linda Boreman—a household name. Although very dirty and graphic, the film is somewhat lighthearted until one realizes that years after it was made, Linda Boreman claimed that she’d been drugged and coerced during the entire filming: “Virtually every time someone watches that movie, they’re watching me being raped….It is a crime that movie is still showing; there was a gun to my head the entire time.”
If the Hells Angels’ fatal stabbing of a gun-brandishing black man at the Rolling Stones concert at Altamont Speedway in 1969 marked the end of the hippie era’s musical optimism, famed novelist Norman Mailer’s experimental film Maidstone marked the end of wide-eyed film experimentation during that era. Live and on camera, you get to see young Michael Mailer traumatized for life as actor Rip Torn enthusiastically swings a hammer at Norman Mailer’s head, drawing blood and leading to a ten-minute real-life brawl that forever imprints its nastiness on anyone who had the displeasure to view it.
In this psychological horror art film by Lars von Trier, Matt Dillon stars as a serial killer who develops a fondness for posing for selfies with his victims’ dead bodies. One scene depicts a woman’s breasts being cut off; another involves the mutilation of a duckling; in another, a woman is forced to sit and calmly have a picnic with the dead bodies of her two sons who’ve just been murdered. Regarding the film’s unwatchability, Peter Bradshaw of The Guardian called the film “an ordeal of gruesomeness and tiredness.”
This drug-addiction movie from Safdie Brothers—the same directors who brought you another unwatchable film Uncut Gems (2019) with Adam Sandler, is so harsh and realistic in the way it shows heroin addiction that the whole duration of the film feels like one giant shriek of desperation, of being trapped inside the gigantic and never-ending hell that is heroin addiction. Often Requiem for a Dream (2000) is included in the most disturbing movies list as the go-to unwatchable drug-addiction movie, but we choose Heaven Knows What over it because it does not have the dreamy cinematic moments of escape and ecstasy that punctuate Requiem for a Dream .
What seems to just be another average and uncomfortable B-horror movie turns on itself with one of the most grotesque ending sequences out there. The film was banned in New Zealand for its violence toward children and sexualization of the underaged. Film critic Jamie Dexter wrote, “It took days for me to shake the horrible feeling this movie left in me, but that just means it was effective in what it set out to do — show this very real and plausible scenario of how internet predators work.”
This immensely successful horror franchise is credited with redefining “torture porn” for the modern era. The torture involves victims being placed in a room filled with acid; being buried in a glass coffin; dangling on barbed wires atop a field with spinning lawnmower blades; two drills being moved closer to a person’s head; a machine that collects 10 pints of blood from its victims; a razor wire maze; and a victim being dropped in a pit filled with hypodermic needles.
With scenes such as one where members of a crowd pass around a newborn baby so violently that its neck snaps, then its distraught mother is forced to watch the spectacle of mob members eating the dead infant, this one ranks high on the unwatchability scale. Rex Reed panned the film, saying “Nothing about Mother! makes one lick of sense as Darren Aronofsky’s corny vision of madness turns more hilarious than scary. With so much crap around to clog the drain, I hesitate to label it the ‘Worst movie of the year’ when ‘Worst movie of the century’ fits it even better.”
It’s hard to determine whether this is the most unwatchable film on this list or the most unlistenable —although the imagery is disturbing and features death, Confederate flags, skulls, exploding lava, and a Satanic funeral, it is also gorgeously filmed by director Kenneth Anger. It’s the music—if you could call it that—which would drive any sane person out of the room within thirty seconds. Rock star Mick Jagger, apparently very high on fame as well as several other undetermined substances, used a Moog synthesizer to create 11 minutes of looping noise that makes nails on a blackboard sound soothing.
How did a movie that references pedophilia and rape get green-lit by a major Hollywood studio? That is the eternal mystery of this surreal and gonzo film from Tom Green that somehow got a $14-million budget from 20th Century Fox and breaks every rule of blockbuster filmmaking. Some call this the worst movie of all time; others call it a masterpiece of surrealist and absurdist art. What can you say about a film where adults get sent to homes for sexually molested children and a newborn baby is swung around in the air by its umbilical cord? This is the film that infamously destroyed comedian Tom Green’s career
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