From Raw to In My Skin, Alpha, Titane, and Swallow, French body horror has long captivated genre fans thanks to its unflinching, visceral extremes, its unique blend of high art and exploitation, and its profound exploration of societal and cultural themes. It uses the horror of the body as a canvas for trauma, social critique, and existential dread like no other, turning the stomachs of audiences while providing thought-provoking conversation that bores under the skin.
Continuing the run of extreme French body horror we have been enjoying is Marion Le Corroller’s debut feature Sanguine, also known as Species, which closes this year’s FrightFest. Sure to draw comparisons to Coralie Fargeat’s The Substance – not least from its special make-up effects provided by Pierre-Olivier Person, who won an Oscar for the film – Species is a new beast entirely. It is a raw- gut-punch of a film that will tear your insides out, forcing you to take in every detail of the viscera, leaving you feeling gutted and hollow as it barrels towards its bombastic final act.
Species follows junior doctor Margot Loiseau (Mara Taquin), an intern in a competitive emergency room in the country, competing against stand-out classmate Pauline (Kim Higelin) as well as her neighbour in her halls of residence, Louis (Sami Outalbali). A long way from home, while juggling an intense workload, the expectations of iron fist-ruling resident physician Virgile (Karin Viard), and the needs of her patients, Margot increasingly struggles in the exhausting, anxiety-ridden environment. She treats young people with unusual, rare diseases that all seem to have one thing in common – heavy bleeding with no signs of injury, the inability to sleep while also not feeling tired, and unusual skin conditions. When she too begins experiencing the same symptoms, its sends Margot on a path to get to the bottom of what is happening to France’s youth, and how she can stop it before time runs out.
Setting the tone that follows with its opening during a mundane shift at fast-food restaurant Bloody Burger that ends in violence and bloodshed, Species is a pulsating, savage, intense thrill-ride examining the horrors of the modern workplace. It blends stomach-churning body horror with pounding electronic music, dizzying editing, sumptuous set design and costuming, and an unsettling medical setting that immediately puts an audience on edge. While the physical transformations that play out onscreen are horrifying, the true terror of Species lies in its examination of workplace stress and emotional shutdown as a result.
In the constant hustle culture of the 2020s, it can feel impossible to switch off from work and enjoy our down time for fear of not hitting targets, maximising our productivity, or reaching arbitrary goals. It has a detrimental effect on not only our mental health, but our physical health, causing a litany of ailments that are life-destroying, and sometimes life ending, in extreme circumstances. In a world where body horror often focuses on ageing, pregnancy, or birth, Species stands out from the crowd by offering a poignant, nuanced, and devastating examination of a much lesser talked about subject matter in a wholly unique way. It taps into the all-encompassing paranoia present in the early works of David Cronenberg and Clive Barker, culminating in a bewildering, nerve-shredding experience from start to finish that never allows the audience to get comfortable.
The simple, sparse hospital and home sets drenched in red contrast starkly to Species‘ score and disorienting cuts and pans, immersing the audience in the confusion and hectic atmosphere Margot experiences in her day-to-day life. The details in everything from the set design to costumes and the exquisite practical effects are captivating, willing you to keep your eyes on the screen no matter how grotesque they appear. Every scene carries a quality that makes your skin itch and your heart pound in an anxious flurry, whether it be the nail-biting conversations and humiliation rituals Margot endures, to vomit-inducing surgical scenes.
Species is carried by the magnificent performance of Mara Taquin as Margot, who expertly balances the character’s vulnerability and anxiety in her new role, with the fierceness and power she harnesses to survive. She portrays someone trying to maintain their professionalism while crumbling behind closed doors in a way that is frightening accurate and utterly harrowing, yet incredible to watch as it feels like a real star is being born before you. The ensemble cast is similarly impressive, dealing with the pressures of the job in contrasting ways while all united in their concern and fear for Margot’s wellbeing.
Species is a pulpy and punishing film that continues France’s exemplary run of female-directed horror features that both shock and sober audiences in equal measure. Le Corroller’s feature debut puts her name firmly among lists of directors on the rise to watch, showcasing a clear control over every aspect of the film and a clear vision of what she wanted it to be. While reminiscent of several films in the same genre, Species is a unique genre film exploring the modern workplace with plenty of gory mayhem, black comedy, and a bleak climax that comes full circle. Grisly, charming, and carried by a career-defining lead performance in Taquin, Species is an infectious slice of body horror that you won’t be seeking a cure for.
Species had its UK premiere at FrightFest 2026 on Monday, August 31
