Halloween season is here, and if you’re looking for something different to watch, Filipino horror films offer a unique alternative to the usual scary movie lineup. With films like Feng Shui, Eerie, and several Shake, Rattle & Roll installments now available on streaming platforms, it’s easier than ever to explore Philippine horror cinema.
These films blend local folklore with psychological terror, introducing audiences to creatures from Filipino mythology like the aswang (shapeshifting evil spirits), manananggal (self-segmenting vampires), and tiyanak (demon babies). From the psychological masterpiece Kisapmata (1981) to modern hits like Seklusyon (2016), Filipino horror has been creating distinctive scares that reflect both supernatural fears and real-world anxieties.
Top Filipino Horror Movies for Binge-Watching:
- Kisapmata (1981) dir. Mike de Leon
- Patayin sa Sindak si Barbara (1974/1995) dir. Celso Castillo/Chito S. Roño
- Tiyanak (1988) dir. Peque Gallaga
- Shake, Rattle & Roll Series (1984-2025)
- Feng Shui (2004) dir. Chito S. Roño
- Sukob (2006) dir. Chito S. Roño
- Huwag Kang Lilingon (2006) dir. Quark Henares, Jerry Lopez Sineneng
- The Road (2011) dir. Yam Laranas
- Seklusyon (2016) dir. Erik Matti
- Bliss (2017) dir. Jerrold Tarog
Kisapmata (1981) dir. Mike de Leon
Mike de Leon’s Kisapmata isn’t your typical horror film, it’s a psychological sledgehammer that still leaves audiences gasping decades later. Based on true events from Nick Joaquin’s crime reportage, this masterpiece follows a retired policeman’s disturbing control over his family, culminating in one of Philippine cinema’s most shocking endings.
What makes Kisapmata terrifying isn’t supernatural creatures but the horror hiding in plain sight—the tyrannical father, the suffocating household, the creeping dread that something terrible is about to happen. Film scholars have interpreted it as an allegory for the Marcos regime, but even without the political subtext, it remains absolutely chilling. Voted the 3rd best Filipino film of all time, it premiered at Cannes and has been digitally restored for new generations to discover why their parents still can’t watch it alone.
Patayin sa Sindak si Barbara (1974/1995) dir. Celso Castillo/Chito S. Roño
First came Celso Ad. Castillo’s 1974 original starring Susan Roces, then Chito S. Roño’s 1995 remake with Lorna Tolentino—and honestly, both versions will make you never look at dolls the same way again. The story of sisterly jealousy, suicide, and supernatural revenge through a possessed doll became so iconic that “Barbara” became synonymous with terror in Filipino pop culture.
The 1995 version, in particular, showcased Roño’s genius for building unbearable tension without relying on cheap tricks. Using masterful lighting and editing, he created sequences so intense that audiences reportedly fled theaters—and then came back the next day to finish watching.
Tiyanak (1988) dir. Peque Gallaga
Peque Gallaga and Lore Reyes took a creature from Filipino folklore—a demon disguised as an innocent baby—and created one of the most disturbing horror films ever made in the Philippines. Starring Janice de Belen, Tiyanak follows Julie, who adopts an abandoned infant only to discover she’s brought home a flesh-eating monster.
The film’s use of practical effects and animatronics instead of CGI made the creature unnervingly real. It became such a cultural phenomenon that “Anak ni Janice” entered the Filipino lexicon as a way to describe anything creepy involving children.
Shake, Rattle & Roll (1984-2025)
Since 1984, the Shake, Rattle & Roll series has become the longest-running film franchise in Southeast Asian cinema with 16 films (and counting). Each installment features three horror segments showcasing different Filipino monsters—from the manananggal (a self-segmenting flying vampire) to the aswang (shapeshifting evil spirits).
The inaugural film’s “Pridyider” segment, directed by the legendary Ishmael Bernal, turned a haunted refrigerator into a metaphor for domestic violence and sexual repression. Yes, a killer fridge with subtext—only in the Philippines, folks. The franchise became an MMFF tradition, with families making it their Christmas Day ritual to get scared together.
Feng Shui (2004) dir. Chito S. Roño
Chito S. Roño’s Feng Shui didn’t just scare audiences, it revolutionized Filipino horror cinema. Starring Kris Aquino (who would become the undisputed “Box Office Horror Queen”), this film is about a cursed Bagua mirror that kills according to Chinese zodiac signs.
The genius of Feng Shui lay in its premise: taking something ordinary—feng shui beliefs many Filipinos follow—and turning it deadly. Audiences found themselves frantically calculating their zodiac signs and checking their home decorations. The film was so successful it spawned a sequel in 2014 that earned ₱235 million, proving that Filipinos love being scared by their own superstitions.
Sukob (2006) dir. Chito S. Roño
Another Roño-Aquino collaboration, Sukob took a common Filipino superstition—don’t get married within the same year a relative dies or marries—and turned it into the highest-grossing Filipino film of its time, earning ₱203 million.
The film follows two half-sisters who unknowingly violate this taboo, triggering a supernatural curse that manifests in increasingly creative ways. Dead relatives leave wedding garments instead of corpses, a ghostly flower girl stalks victims, and wedding bells become death knells. It proved that Filipino horror rooted in local beliefs could achieve massive commercial success while keeping audiences sleeping with the lights on.
Huwag Kang Lilingon (2006) dir. Quark Henares, Jerry Lopez Sineneng
This anthology film starring Anne Curtis and Kristine Hermosa remains one of the most-cited “scariest Filipino films ever” in online discussions. Split into two segments—”Uyayi” (Lullaby) and “Salamin” (Mirror)—with a connecting epilogue, the film follows a nurse haunted by the same spirits that destroyed her family.
What makes it particularly effective is its use of everyday fears: mirrors, dark hallways, and that feeling someone’s watching you. Many Filipino millennials still refuse to rewatch it, claiming it traumatized their childhoods. That’s a horror film doing its job right.
The Road (2011) dir. Yam Laranas
Yam Laranas’s The Road proved Filipino horror could compete internationally, winning the Best Asian Future Film Award at Tokyo International Film Festival. The film’s reverse chronological structure—starting in 2008 and working back to 1988—slowly reveals the horrifying truth about a cursed road where people disappear.
ith a 71 Metascore on Metacritic, critics praised its refusal to rely on typical horror clichés. No gratuitous sexuality, no cheap CGI—just pure, psychological dread building across three decades. It showed the world that Filipino horror could be both commercially successful and critically acclaimed.
Seklusyon (2016) dir. Erik Matti
Erik Matti’s period horror Seklusyon takes place during the Spanish colonial era, following four deacons during their final test of faith at a remote convent. They must resist a young girl believed to possess evil powers—but in Matti’s hands, nothing is what it seems.
The film explores how evil often pretends to be good, questioning blind faith within religious institutions. It’s horror with a brain, using supernatural elements to comment on institutional power and corruption. The film swept awards at the 2016 MMFF, proving audiences were ready for more sophisticated horror.
Bliss (2017) dir. Jerrold Tarog
Jerrold Tarog’s Bliss is a mind-bending psychological thriller that follows actress Jane Ciego, who becomes trapped in her own home after an accident, cared for by her husband and a sadistic nurse. The film employs a film-within-a-film structure that keeps viewers questioning what’s real.
Drawing inspiration from Ingmar Bergman and Satoshi Kon, Bliss is Filipino horror at its most artistic. Star Iza Calzado won international awards for her disturbing performance, and the film proved that Filipino horror could be both commercially viable and artistically ambitious.
Why Filipino Horror Hits Different
What makes Filipino horror special isn’t just the monsters—it’s how these films reflect societal fears. Kisapmata explored patriarchal tyranny during martial law. Feng Shui tapped into middle-class anxieties about prosperity and its price. Eerie exposed institutional abuse in religious schools.
Filipino horror works because it understands that the scariest monsters aren’t always supernatural. Sometimes they’re corrupt officials, abusive parents, or systemic oppression. The aswang might be terrifying, but it’s the human monsters that keep you up at night.
Frequently Asked Questions
What makes Filipino horror movies unique?
Filipino horror films uniquely blend indigenous folklore (aswang, manananggal, tiyanak) with Catholic imagery and social commentary. They often use supernatural elements to explore real-world issues like corruption, abuse, and family dysfunction, creating horror that’s both culturally specific and universally relatable.
What is an aswang?
An aswang is an umbrella term for various shapeshifting evil creatures in Filipino mythology, including vampires, ghouls, witches, and viscera suckers. It’s the most common monster in Filipino horror films and has been documented in Philippine folklore since the 16th century.
Who is the “Box Office Horror Queen” of Philippine cinema?
Kris Aquino earned this title after starring in numerous blockbuster horror films including Feng Shui (2004), Sukob (2006), and their sequels. Her films consistently broke box office records and established the template for modern Filipino horror.
What’s the longest-running horror franchise in Southeast Asia?
The Shake, Rattle & Roll series, which began in 1984 and has produced 16 films with a 17th announced for 2025. Each film features three horror segments showcasing different Filipino mythological creatures.
Are Filipino horror movies available internationally?
Yes! Many Filipino horror films are now available on streaming platforms like Netflix, Apple TV+, and Amazon Prime. Feng Shui, Eerie, and several Shake, Rattle & Roll installments have international distribution.
What’s the highest-grossing Filipino horror film?
Deleter (2022) currently holds this record with ₱270 million in box office earnings, followed by Feng Shui 2 (2014) with ₱235 million.
Do I need to understand Filipino culture to enjoy these films?
While knowing Filipino folklore and superstitions enhances the experience, these films work on universal fears—family dysfunction, institutional abuse, supernatural revenge—that transcend cultural boundaries. Many films include exposition for international audiences.
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