The 12 Most Voyeuristic Films We've Ever Watched

      Here are the 12 most voyeuristic films we've ever encountered. They revel in watching others — and being watched themselves.

      But First: What Is Voyeurism?

      Elisha Cuthbert in The Girl Next Door. Twentieth Century Fox. – Credit: C/O

      Voyeurism can be defined as deriving pleasure from observing others, or finding enjoyment in witnessing the pain or distress of others.

      Some characters in this collection embody the first type, while others exemplify the second.

      Why do filmmakers find this theme so compelling? Perhaps because watching a movie resembles peering into someone else's life through a window.

      Rear Window (1954)

      Paramount Pictures – Credit: C/O

      Still regarded as the quintessential voyeuristic film, Rear Window is commonly referenced by others for its clever examination of whether cinema itself can be considered voyeurism.

      Directed by Alfred Hitchcock, this thriller features Jimmy Stewart as L.B. Jeffries, a daring news photographer whose leg injury forces him to remain at home. He spends his time observing his neighbors through their apartment windows while overlooking his incredible girlfriend, Lisa Fremont (Grace Kelly, shown above).

      While Rear Window deals with crime, it also explores a bachelor’s anxieties about commitment. The various people L.B. watches symbolize different life choices: Miss Torso is the attractive yet troubled singleton, Miss Lonelyhearts has never found the right match, and The Salesman is the most mysterious of them all.

      Peeping Tom (1960)

      Credit: C/O

      When discussing voyeuristic films, this is often the title mentioned right after Rear Window.

      Directed by Michael Powell, this British horror thriller — recently added to the Criterion Collection — follows the unsettling Mark Lewis (Carl Boehm, shown) who, while appearing shy, secretly films and kills women.

      Critic Roger Ebert noted, “Movies transform us into voyeurs. We sit in the dark, watching others’ lives. It’s the agreement cinema makes with us, although most films are too polite to address it.”

      Martin Scorsese remarked that this film, along with Federico Fellini’s 8½, encapsulates “everything that can be expressed about filmmaking — the balance of objectivity and subjectivity, and the confusion between the two.”

      Scorsese elaborated, “8½ reveals the allure and joy of filmmaking, whereas Peeping Tom exposes its aggressive side, the invasion of privacy by the camera.” By studying these films, one can learn much about filmmakers and those who communicate through film.

      Body Double (1984)

      Columbia Pictures – Credit: C/O

      This quintessentially '80s film directed by Brian De Palma honors not just Hitchcock's Rear Window, but also Vertigo.

      Struggling actor Jake Scully (Craig Wasson, shown) takes a housesitting job at an upscale home in the Hollywood Hills, only to discover he can watch a neighbor undress through a telescope each night.

      However, an ensuing act of violence causes Scully to question his perceptions, leading him deep into L.A.’s adult underbelly, where he meets the captivating actress Holly Body, portrayed by Melanie Griffith.

      Fright Night (1985)

      Credit: C/O

      This iconic '80s horror flick, crafted by Tom Holland (not the Spider-Man actor), stars William Ragsdale as Charley Brewster, a teenager who becomes convinced that his charming new neighbor (Chris Sarandon) is a vampire, fueled by his obsession with a TV horror show.

      He seeks help from Peter Vincent (Roddy McDowall), a former vampire hunter and host of his favorite show, and Charley’s instincts turn out to be remarkably accurate.

      This entertaining film offers a delightful supernatural twist reminiscent of Rear Window, complemented by effective practical effects led by Richard Edlund, who had recently achieved success with Ghostbusters.

      The Burbs (1989)

      Universal Pictures – Credit: C/O

      The premise of The Burbs shares similarities with Fright Night but leans more towards dark comedy.

      Directed by Joe Dante (known for Gremlins), the film features Tom Hanks (above) as Ray Peterson, a suburban man who suspects that his new neighbors, the Klopeks, are involved in ritualistic killings. His wife, Carol (Carrie Fisher), remains skeptical.

      As Ray becomes increasingly convinced of his suspicions, tensions escalate, with those around him questioning his sanity.

      The Lives of Others (2006)

      Buena Vista International – Credit: C/O

      Winner of the Oscar for Best Foreign Language Film, this straightforward masterpiece directed by Florian Henckel von Donnersmarck revisits the oppressive era of the Stasi in East Germany, when citizens were encouraged and incentivized to report any signs of disloyalty.

      It follows Gerd Wiesler (Ulrich Mühe, shown), a Stasi officer tasked with spying on a playwright and his girlfriend, but he soon realizes that the distinctions between personal and political are challenging to navigate.

      The Girl