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Dracula’s Daughter watches as Countess Marya Zaleska (Gloria Holden) attempts to lift the vampiric curse left over her by her father. The lesbian vampire genre goes back to the 1800s in literature, but Dracula’s Daughter marked the first time it was translated into a film. Dracula’s Daughter (1936) Universal exploited the lesbian undertones of Dracula’s Daughter in its advertising for the film. When travelers Roger (Melvyn Douglas) and Gladys (Lilian Bond) find a spark between them and go to tell her “platonic” partner William (Charles Laughton), William is not only not upset, he remarks that marrying Gladys is something he clearly wouldn’t do. When house matriarch Rebecca (Eva Moore) chastises the young and beautiful Margaret (Gloria Stuart) for her confident sexuality, the subtext of Rebecca’s own desire and envy to be like (or with) Margaret is clearly evident. While Whale was known for not shying away from the taboo and what would be deemed as “acceptable” to put on screen at the time, the queer coding in each character of the film has been heavily dissected throughout the decades. Filled with queer camp and flair, The Old Dark House would serve as inspiration for other cult classics such as The Rocky Horror Picture Show and The Bride of Frankenstein. Table of Contents Queer horror movies 1932-1963 The Old Dark House (1932) Director James Whale’s films have historically been read for having queer undertones.įive strangers seek shelter from a storm together at a creepy old house in the Welsh countryside.

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In a collection of essays about horror movies from queer writers, It Came From the Closet, Carrow Narby argues that The Blob (1988) can be considered a queer horror movie because “the blob” is a relatable character to queer people, “I don’t know what could be more queer than being narratively positioned as a threat to family values, particularly to children.” Going further, Zefyr Lisowski argues in the same book that “If there isn’t a supremacist culture to view things through, does monstrosity even exist?” Queer horror movies can be those that follow an LGBT protagonist, those that have a queer writer and/or director, or even movies that just feel thematically familiar to queer audiences. A married lesbian couple (Hannah Emily Anderson and Brittany Allen) encounter horror at a cabin in the woods in What Keeps You Alive (2018). This makes the genre fertile territory for anyone curious about tracing taboos through the decades of Hollywood (or any culture’s film catalog) history. For instance, horror movies do this by what they choose to present as “monstrous” or scary.

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(Rest assured, Ducournau and director of photography Ruben Impens bathe bodies male and female with a similarly fluorescent glow.)Īnd if the men under Vincent’s command are far more at ease living with a spree killer than with a self-presenting man who presents in a less rigid way, just hope they don’t find out this certain wolf-in-firemen’s-clothing is pregnant.Īs to the nature of the father, well, let’s just say “Titane” finds uses for automobiles that the “Fast and Furious” series would never dare.Movies are a mirror that reflect cultural values back at the viewer. For as much as Alexia leans into a certain expectation of femininity when dancing on cars, so too do the firemen, sanding off every stray edge of themselves in order to fit into the corresponding masculine ideal. As she did in “Raw,” Ducournau taps into Grand Guignol excess as an unexpected way to approach questions of a more esoteric nature, here those of gender and gender performance. ‘Old Henry’ Film Review: Tim Blake Nelson Is a Reluctant Hero in Intimate Western Gem

And it is touch that sets her off a titanium plate lodged in her head since a childhood car crash has gradually turned Alexia into a sort of magnet, drawn to metal, repelled by humans. The man is sad and lonely and overflowing with steroid-addled machismo, and having a “son” onto whom to project all that is a good enough proposition after ten long years.īut before the pair crosses paths and Alexia becomes Adrien, we get to experience her murderous touch firsthand. If the boy’s fire sergeant father Vincent (Cannes perennial Vincent Lindon, in a role written for him) wills himself to believe, that’s understandable enough.

This visually evocative, set piece-heavy film isn’t particularly driven by plot, but here are the broad strokes: “Titane” follows 32-year serial-killing fly girl Alexia (Agathe Rousselle) who, when the cops come after her, pretends to be a 19-year boy who has been missing for decade. Celine Dion Biopic ‘Aline’ Boggles Critics at Cannes With 57-Year-Old Playing Singer at Age 12