The 12 Most Voyeuristic Films We've Ever Encountered

      Here are the 12 most voyeuristic films we've ever encountered.

      They enjoy watching — and being watched.

      Let's dive in.

      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 watching others or finding enjoyment in the suffering or distress of others.

      Some characters showcased in this selection embody the former, while others reflect the latter.

      So why the fascination among filmmakers? It may be because watching a movie resembles peering into the lives of others through a window.

      Rear Window (1954)

      Paramount Pictures – Credit: C/O

      Regarded as the quintessential voyeuristic film, Rear Window is often referenced by other works for its insightful exploration of whether filmmaking itself constitutes voyeurism.

      This Alfred Hitchcock thriller features Jimmy Stewart as L.B. Jeffries, a daring photojournalist sidelined by an injury and confined to his home. He spends his time observing his neighbors through their apartment windows, while overlooking the presence of his remarkable girlfriend, Lisa Fremont (Grace Kelly, pictured above).

      While Rear Window delves into crime, it also explores a bachelor’s anxieties about commitment. The various individuals L.B. observes symbolize different life paths: Miss Torso is the attractive yet struggling singleton, Miss Lonelyhearts has yet to find the right partner, and The Salesman... well, he’s the most captivating of all.

      Peeping Tom (1960)

      Credit: C/O

      When discussing voyeuristic films, this one is typically mentioned right after Rear Window.

      Directed by Michael Powell, this British horror thriller — newly added to the Criterion Collection — follows the sinister Mark Lewis (Carl Boehm, pictured), who appears to be a shy individual secretly filming and murdering women.

      Critic Roger Ebert remarked, “The movies make us into voyeurs. We sit in the dark, watching other people’s lives. It is the bargain that cinema makes with us, although most films are too well-behaved to mention it.”

      Martin Scorsese noted that this film, along with Federico Fellini’s 8½, captures “everything that can be said about filmmaking, about the process of engaging with film, the objectivity and subjectivity of it, and the confusion between the two.”

      “8½ reflects the glamour and pleasure of filmmaking, while Peeping Tom reveals the aggression of it, illustrating how the camera intrudes,” Scorsese explained. “Through studying these films, you can learn a lot about those who create them, or at least about those who express themselves through them.”

      Body Double (1984)

      Columbia Pictures – Credit: C/O

      In this quintessentially '80s take on voyeurism, Brian De Palma’s cult classic pays homage not only to Hitchcock’s Rear Window but also to Vertigo.

      When struggling actor Jake Scully (Craig Wasson, pictured) gets the opportunity to house-sit in an upscale location in the Hollywood Hills, he discovers a disquieting perk: he can watch a neighbor undress each night through a telescope.

      However, following an act of violence, Scully begins to question everything and embarks on a journey into L.A.’s adult underworld, where he encounters actress Holly Body, portrayed by the captivating Melanie Griffith.

      Fright Night (1985)

      Credit: C/O

      This '80s horror gem from Tom Holland (not the Spider-Man actor, who wasn’t born yet) features William Ragsdale as Charley Brewster, a teen captivated by a horror TV show. He becomes convinced that his charming new neighbor (Chris Sarandon) is a vampire.

      He recruits help from the show’s host, former vampire hunter Peter Vincent (Roddy McDowall). Charley’s instincts prove to be surprisingly accurate.

      This film offers a delightful viewing experience not only for its supernatural twist on Rear Window but also for its quintessentially '80s and highly effective practical effects, led by Richard Edlund, fresh off his success with Ghostbusters.

      The Burbs (1989)

      Universal Pictures – Credit: C/O

      The premise of The Burbs shares similarities with Fright Night, but this film leans more into dark humor.

      Directed by Joe Dante of Gremlins fame, it stars Tom Hanks (above) as Ray Peterson, a suburban man who starts to suspect that his new neighbors, the Klopeks, are engaged in ritualistic murders. His wife Carol (Carrie Fisher) is not on board with his theories.

      Naturally, tensions rise as Ray becomes increasingly convinced that he’s onto something, while those around him believe he’s losing his grip on reality.

      The Lives of Others (2006)

      Buena Vista International – Credit: C/O

      This Oscar-winning Best Foreign Language Film, directed by Florian Henckel von Donnersmarck, revisits the oppressive days of the Stasi in East Germany