The subject of my thesis is Emerald Fennell's 2020 film, Promising Young Woman, that I categorised by comparing and defining the characteristics of traditional and revisionist rape-revenge films. My claim is that the film can be defined as a revisionist rape-revenge film, thanks to the ambiguous use of traditional and innovative elements. A list of these revisionist and renewed elements: 1) unlike previous rape-revenge films from the 1970s until around the turn of the millennium, it was written and directed by a woman; 2) its protagonist is also a woman, and the viewer gains insight to the events through her point of view; 3) the protagonist is not clearly defined as martyr, victim or avenger, nor as hunter, predator or prey; 4) the film erases the angel-demon dichotomy; 5) it reappropriates the voice and the gaze; 6) it shows the positive effects of technology, especially given that the film was made in the #metoo era; and 7) although its ending satisfies the expectations of traditional rape-revenge films, it manages to expose the sensationalism of the previous narratives, emphasising that these stories are just fantasies about the unreal physical strength and power of the protagonist. These aforementioned qualities led to the conclusion that it is indeed a revisionist piece, and by using usual and unusual elements of the rape-revenge genre, the film becomes self-reflexive and asks the viewer to interrogate their own responses to rape-revenge stories, and makes them question the accepted societal norms and the normalisation of violence.