Horror is generally thought of as a genre that exists purely to induce fear, with perhaps some social critique thrown in. It is not often associated with themes of body positivity and affirmation. French director Julia Ducournau, however, has broken from the pack by portraying such messages through body horror. Ducournau, whose films are growing in popularity, has, for the most part, gone unnoticed in academia thus far, and those that have studied her have mainly focused on examining one of her feature films in isolation rather than taking in her body of work as a whole. I intend to fill this gap in the scholarship on one of the horror genre’s most promising directors by showing how, as a collective, Ducournau's feature films and her first short film achieve an affirmation of body-positivity and self-love. Through use of the concepts of abjection and the grotesque as put forth by Julia Kristeva and Mikhail Bakhtin, respectively, I investigate how Ducournau uses body horror in Junior (2011), Raw (2017), and Titane (2021) to advocate for selfacceptance. I conclude that, through her treatment of these films' protagonists, employment of the grotesque and abject, and use of similar character profiles and identities throughout her movies, Ducournau shows viewers that you shouldn't automatically reject or repress those things about yourself that you or society may find gross, disgusting, or horrifying; rather, it is in accepting these elements as part of yourself and celebrating them that a degree of happiness and self-actualization can be achieved.