This thesis examines depictions of ambivalent motherhood, and societal ambivalences towards mothers in horror films released after We Need to Talk about Kevin in 2011. Using ‘horror vĂ©rité’ as a critical framework, this thesis aims to illustrate that recent representations of ambivalent mothers and their bodies either resist, or comply, to postfeminist standards of ‘new momism’: a term outlined by Susan Douglas and Meredith Michaels in their book The Mommy Myth (2004). ‘Horror vĂ©rité’ refers to a genre of “truthful horror”, that through “artificial means”, such as “outrageous, unrealistic plots” reveals societal truths that “might otherwise remain elusive” (Landsberg, 2018, p.632). Through an analysis of films such as The Babadook, Bird Box, Hereditary and mother!, this research aims to demonstrate that their use of ‘horror vĂ©rité’ filmic techniques reveal wider social anxieties pertaining to maternal ambivalence and maternal corporeality.