Horror has historically been a genre that has sought to preserve society’s conservative values. The horror fiction monster usually represents the society’s countercultural urges, which will either be assimilated or destroyed by the end of the film.
While queer subtext has been ingrained in horror cinema since its inception, the way queer representation has evolved. What was once considered a threat to society - such as the image of a dangerously seductive sapphic vampire - has been recontextualized as the horror genre has become. Queer representation in modern horror cinema has shifted its perspective in favor of the Other, shifting fear to the true horrors of society.
“Beat” (2019)
Laurel (Nicole Maines) is a transgender woman on summer vacation in Los Angeles. While partying at a club, Laurel encounters a group of young women who welcome her into their squad only to reveal that they are vampires.
Brad Michael ElmoreX A piece this is a strange feminist story about a squad of vampires who clean the streets of Los Angeles from predatory men. Satisfactorily expanding the possibilities, A piece uses his vampirism as a superpower that allows his women to feel safe as creatures of the night.
“Jennifer’s Body” (2009)
Jennifer Check (English)Megan Fox) is a popular cheerleader at Devil’s Kettle High School and Needy’s best friend (Amanda Seyfried) since childhood. After a satanic sacrifice goes wrong, Jennifer transforms into a succubus who needs to feed on flesh to survive - a hunger she satisfies by feasting on her male classmates.
Producer Karin Kusama, Jennifer’s body it is a horror movie that is conscious of the male gaze. Fox’s role as a dangerously seductive succubus just two years after her overly sexualized performance in Michael BayX transformers is a clear response to how men objectify women.
“All Cheerleaders Die” (2013)
Maddy (Caitlin Stacy) is a recent member of the Blackfoot High support team. When the cheerleaders wake up unharmed the morning after being involved in a fatal car accident at the hands of the soccer team, one by one the girls try to get revenge on the soccer players.
Chris Sivertson as well as Lucky Mackeymovie All cheerleaders die criticize and undermine the sexist power structure of school cliques. Like a classic tale of revenge All cheerleaders die it is a satisfying portrayal of a queer woman who is aware of how society and the horror genre treats women.
‘Perfection’ (2018)
Charlotte (Allison Williams) is a talented young cellist who reunites with the head of her old music academy and befriends new star student Lizzy (Logan Browning). After an incident between Lizzie and Charlotte that results in Lizzie losing her arm, her dreams of continuing to work as a cellist at the academy are shattered.
What initially seems to be a story about jealousy for a new star student, Richard ShepardX Perfection, turns into a darker tale of revenge. As the horrors of the academy unravel, Charlotte and Lizzie collude to end the systematic abuse of power.
“The Last Thing Mary Seen” (2021)
The action takes place in 1843, Mary (Stephanie Scott) is under investigation by her Christian community following the mysterious death of her family’s matriarch. What is revealed is the story of two unfortunate lovers secretly living under puritanical control.
Edoardo Vitalettislow folk horror film The last thing Mary saw is a historical depiction of queerness stifled by a patriarchal cult community. In search of a world free from religious oppression, two lovers show that their love is worth not only dying, but also killing.
‘Thelma’ (2017)
Thelma (Ailey Harbaugh) is a college freshman who has severe seizures after meeting Anya (Kaya Wilkins). She soon realizes that the seizures are a symptom of an inexplicable telekinetic power she possesses that materializes whenever she feels a desire.
Bringing the theme of religious oppression to a contemporary setting, Joachim TrierX Thelma it is a supernatural drama that allows its protagonist to tap into her power and overcome the controlling forces that have oppressed her throughout her life - her family and her religion.
‘Raw’ (2016)
Justine (Garance Marillier) is following in the footsteps of his family and is a freshman in veterinary school. Justine’s beliefs are tested away from her parents when she succumbs to the college’s brutal hazing rituals and is reunited with her rebellious older sister Alexia (Ella Rumpf). Although she was raised as a strict vegetarian, after being forced to eat a raw rabbit kidney, Justine soon develops an insatiable craving for carnal pleasures.
Julia Ducourneaudebut feature film Raw about strange desires. He challenges the polite portrayal of satisfaction in favor of condescension. Since Justine is never portrayed as a monster in the film, despite her penchant for cannibalism, Raw works to dismantle the repressive hierarchical systems that limit society - college, family and binary heteronormativity.
“Red Clicks” (2000)
Ginger (Katherine Isabelle) and Bridget (Emily Perkins) are two outcast sisters in the quiet town of Bailey Downs. On the night of her first period, Ginger is attacked by a wild creature. Her wounds are mysteriously healing and she feels better than ever, but something is not right. She begins to grow a tail, and on a full moon night she transforms into a bloodthirsty werewolf who must devour others in order to survive.
Producer John Fawcett, ginger shots it is a coming-of-age story that reveals the horrors of growing up. Both sisters see no joy in “becoming a woman” and denounce the notion of puberty and everything that comes with it, asserting a gender or sexuality that you are unwilling to follow.
“Let the right one in” (2008)
At first glance, 12-year-old Eli (Linda Leandersson) looks like any other 12 year old girl, except she is 12 years old already over 200 years old. When Eli befriends OscarKore Hedebrant) - A lonely 12-year-old boy, constantly bullied by his peers, Eli takes it upon himself to protect Eli at all costs.
Melancholy horror film director Thomas Alfredson, Let the right one in this is a love story for outsiders. Eli’s vampire power was never seen as something to be feared, and as the film hints at Eli’s transgender backstory, Let the correct AT offers a happy ending to a population that too often has to see itself as the victim of tragedy.
‘Titan’ (2022)
As a child, Alexy (Agatha Roussel) was in a horrific car accident that resulted in a titanium plate being implanted in her skull. Since then, Alexia has developed a certain resemblance to cars, working as an exotic dancer in a car dealership; then, when no one is watching, she finds pleasure in sex with machines.
The second feature of Ducourneau Titanium breaks down the distinction between man and machine, gender and genre, to create a tender story centered on love and humanity. The monstrosity has always sought to represent the destruction of categories, and, as Ducourtnot shows in Titaniummonstrosity is not something to be feared, assimilated or destroyed, but rather something to be celebrated. It is the birth of something new—a certain optimistic future rooted in this monstrous creation as an evolutionary step beyond rigid binaries and boundaries.
Source: Collider
