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The relatable lesbian character is just a bonus. Instead, a few questions: How does vampirism function in the world of this film? Why does one of the great vampire queens perform burlesque on the side?

Does director Jesus Franco really think you can have lesbian sex without trimming your fingernails first?

Sarah Roberts Susan Sarandon , a doctor they hope can genetically halt the process of aging. Roberts becomes intrigued by her cold new acquaintances, especially Miriam, leading to a truly life-changing love scene that all gets kicked off by Delibes, some red wine, and a cuffed white T-shirt.

That viewers also get to see Susan Sarandon, Catherine Deneuve, and David Bowie all on the same screen is an entirely separate blessing.

With the exception, as pointed out in the recent i-D piece on lesbian horror , of lesbian vampire movies, their own genre.

In recent years, several movies have taken that bet. Wildly different in genre Women Who Kill is maybe… a serial killer dramedy?

Women have been increasingly centered, both behind and in front of the camera, in recent cerebral horror. The Babadook comes to mind.

In classic horror, final girls have no need for that kind of self-examination; they know how virtuous they are because the filmmaker does, and so their survival and moral fiber remains assured.

The fear of becoming a monster is scarier than the monster itself. Thelma is on its face kind of a modern, gay take on Carrie — Thelma grew up sheltered and quiet, and her weird, controlling dad hovers over her with religious fervor, homophobia and the threat of violence.

He accuses her of willing Anja to reciprocate her feelings with her powers — of being a predatory psycho lesbian, basically, tricking a straight girl who could never really love her as she is.

Tangled in with the snake iconography and touches of body horror, those are the real horrors for Thelma, that and the deep-seated fear that everything your abusive parent said about you is true.

In many ways What Keeps You Alive is a classic slasher; the remote location, the blood, the relentless quality of the villain.

Or is it because Jules is afraid of becoming a monster herself? At its core, horror is an affective project, asking us to be afraid of the same things the protagonists are.

To feel the delicious vicarious fear we look for in a horror movie, our nervous system has to believe that the scary thing really is dangerous; this makes us jump when the protagonists jump, scream when they scream, breathe a sigh of relief when they do.

Maybe the most blatant example of this is in Women Who Kill — again, arguably not horror, but certainly steeped in the dread of not being sure whether you can trust someone you care about and also wondering if maybe she murdered your friends.

How much work is it worth it to put into drawing the parallels, providing stepping stools for narrative empathy? Not much, seems to be the argument here.

The bad things that happen to us — and that we believe about ourselves — are terrifying on a fundamental level, not because they can be likened in some way to more common or generalizable fears.

Moreover, the things we do to survive them are justifiable and even praiseworthy; we deserve to be rooted for like we root for Carrie, Laurie Strode, or Sidney Prescott.

Like the modern fairy tales they are, horror tells us about not only who we think deserves to live, but what ills are evil enough they deserve to be vanquished.

Topics dear to her heart include bisexuality, The X-Files and tacos. Her favorite Ciara video is probably "Ride," but if you're only going to watch one, she recommends "Like A Boy.

I like this way of thinking about horror! The lesson is that you are always already or just on the brink of becoming excessive, contemptible, grotesque, and the world is more than ready to cut you down to size.

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Whether bonded by a love of B-movie badness or semi-pretentious art films, we horror fans love just how varied the genre can be. And so, much like the makeup of a My Chemical Romance concert, horror movie audiences often encompass edgy gore bros, defiant women, and the unrepentantly gay.

Though the state of on-screen lesbianism is fraught at best, some of its earliest and most inventive iterations lie in horror.

Sometimes they kiss multiple times throughout the whole movie. A lot of the time, they die. But every time, I love the absolute shit out of each and every one of them.

Among the group is Theo Claire Bloom , a lesbian psychic who immediately becomes territorial about Nell after they defend each other during a nighttime poltergeist attack.

But probably not. With the exception, as pointed out in the recent i-D piece on lesbian horror , of lesbian vampire movies, their own genre. In recent years, several movies have taken that bet.

Wildly different in genre Women Who Kill is maybe… a serial killer dramedy? Women have been increasingly centered, both behind and in front of the camera, in recent cerebral horror.

The Babadook comes to mind. In classic horror, final girls have no need for that kind of self-examination; they know how virtuous they are because the filmmaker does, and so their survival and moral fiber remains assured.

The fear of becoming a monster is scarier than the monster itself. Thelma is on its face kind of a modern, gay take on Carrie — Thelma grew up sheltered and quiet, and her weird, controlling dad hovers over her with religious fervor, homophobia and the threat of violence.

He accuses her of willing Anja to reciprocate her feelings with her powers — of being a predatory psycho lesbian, basically, tricking a straight girl who could never really love her as she is.

Tangled in with the snake iconography and touches of body horror, those are the real horrors for Thelma, that and the deep-seated fear that everything your abusive parent said about you is true.

In many ways What Keeps You Alive is a classic slasher; the remote location, the blood, the relentless quality of the villain.

Or is it because Jules is afraid of becoming a monster herself? At its core, horror is an affective project, asking us to be afraid of the same things the protagonists are.

To feel the delicious vicarious fear we look for in a horror movie, our nervous system has to believe that the scary thing really is dangerous; this makes us jump when the protagonists jump, scream when they scream, breathe a sigh of relief when they do.

Maybe the most blatant example of this is in Women Who Kill — again, arguably not horror, but certainly steeped in the dread of not being sure whether you can trust someone you care about and also wondering if maybe she murdered your friends.

How much work is it worth it to put into drawing the parallels, providing stepping stools for narrative empathy?

Not much, seems to be the argument here. The bad things that happen to us — and that we believe about ourselves — are terrifying on a fundamental level, not because they can be likened in some way to more common or generalizable fears.

Moreover, the things we do to survive them are justifiable and even praiseworthy; we deserve to be rooted for like we root for Carrie, Laurie Strode, or Sidney Prescott.

Like the modern fairy tales they are, horror tells us about not only who we think deserves to live, but what ills are evil enough they deserve to be vanquished.

Topics dear to her heart include bisexuality, The X-Files and tacos. Her favorite Ciara video is probably "Ride," but if you're only going to watch one, she recommends "Like A Boy.

I like this way of thinking about horror!

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