When Alex Garland’s Men was released in 2022, reviewers almost without exception dubbed the film ‘folk horror’. The Village Voice, though, claimed the film as an example of an emergent cinematic ‘new weird’, a subgenre that uses the ‘tropes and impulses of horror’ to do ‘something else, mysteriously, metaphorically, and often inexplicably’. Garland’s Men does indeed stray into the ‘weird’, disrupting its more recognizable status as folk horror. After first pursuing a familiar folk horror plot, Men veers into the weird, specifically, in the protagonist’s encounter with a naked man standing by a ruined building in a forest (filmed on location in the Forest of Dean). This man becomes an embodiment of the folkloric ‘green man’, and his presence in the film pushes the film toward what Michael Cisco has called ‘the deterritorialization of ordinary experience’ (and also of generic expectations) that characterizes the weird. As a weird text, Men becomes not a rehearsal of folk horror but an interrogation of it—of its suppression of actual place in service of a generic ‘landscape’ and of the repressions it enacts in service of creating the idyllic English village.