Buzz
Until recently, horror films with openly queer characters and themes were rare—many films hinted at such elements, but few addressed them directly. Despite horror movies having a massive LGBTQ+ fanbase (many of the most passionate horror enthusiasts I know, myself included, identify as queer), representation was minimal. The recent surge in queer-inclusive horror films isn’t just about diversity; it’s about meeting audience demand. These films range from those weaving queer coming-of-age tales into their plots to others featuring LGBTQ+ protagonists seamlessly. The genre spans elevated horror, serial killer thrillers, and classic slashers.
And don’t worry—straight viewers are more than welcome to join in the screams. When a killer’s on the loose, no one’s judging your lifestyle choices.
I Saw the TV Glow (2024)
Writer and director Jane Schoenbrun's latest work, following their impressive debut We're All Going to the World's Fair, offers multiple interpretations. Despite the enigmatic and ambiguous tone of Glow, its core themes are easily discernible. The story revolves around Owen (Justice Smith) and Maddy (Brigette Lundy-Paine), two isolated teenagers who connect over their shared obsession with the fantasy TV show The Pink Opaque. For them, the series becomes more tangible than their mundane suburban lives. The film subtly mirrors Schoenbrun's personal journey, capturing the awe of leaving the past behind while confronting the inherent fear of embracing change.
Where to scream: Max, digital rental
Knife + Heart (2018)
Yann Gonzalez's sleek and stylish slasher film delves into the gritty world of 1970s gay adult films. Anne Parèze (Vanessa Paradis), the head of a production company specializing in exploitation cinema, finds herself entangled in a series of on-set murders. The local police show little concern for the deaths of gay porn actors, prompting Anne to turn the murders into the focus of her next film. This meta-narrative, a movie-within-a-movie, attracts the killer's attention, complete with his weapon of choice—a spiked dildo. The film pays homage to giallo and ‘70s exploitation cinema, blending classic Italian horror influences with a distinct modern flair.
Where to scream: Shudder, Tubi, AMC+, digital rental
Knock at the Cabin (2023)
M. Night Shyamalan’s gripping thriller presents Eric and Andrew (Jonathan Groff and Ben Aldridge), a married couple, with an unthinkable dilemma: one must sacrifice the other to prevent global catastrophe. What begins as a terrifying home invasion, led by Dave Bautista’s commanding character, gradually transforms into a compelling argument for the necessity of their sacrifice. The film masterfully contrasts the couple’s idyllic life—raising their daughter in a quaint cabin—with the escalating tension and existential dread that permeates the story.
Where to scream: Digital rental
The Rocky Horror Picture Show (1975)
Having watched Rocky Horror numerous times (often in various stages of attire), I still struggle to summarize its plot—something involving Brad and Janet (Barry Bostwick and Susan Sarandon) encountering a bizarre mansion inhabited by extraterrestrial queers, led by Tim Curry’s iconic Dr. Frank-N-Furter. The film has evolved from a cult favorite to a quintessential experience for young LGBTQ+ audiences, brimming with flamboyant characters who embrace fluidity in sexuality and gender. While it may not be the scariest queer film, its playful subversion of classic horror tropes and infectious energy make it a delightful way to unsettle the uninitiated.
Where to scream: Digital rental
Sleepaway Camp (1983)
While undeniably problematic, this 1980s slasher holds a special place for queer horror fans who embraced its eccentric charm. The film is a bizarre mix of absurd humor and surprisingly effective kill scenes, with each actor seemingly in their own unique movie, adding to its campy appeal. The infamous ending—spoiler alert—reveals Angela (Felissa Rose) as the killer, who is later exposed to be Peter, traumatized by childhood events and raised as a girl by eccentric Aunt Martha (Desiree Gould). Angela has been labeled a trans villain, though the film’s intentions remain ambiguous. Despite its questionable politics, it delivers as a chaotic slasher with a uniquely queer twist.
Where to scream: Peacock, Tubi, Crackle, digital rental
Dracula's Daughter (1936)
This direct sequel to the Bela Lugosi classic follows Countess Marya Zaleska (Gloria Holden), who clashes with Van Helsing (Edward Van Sloan) from the original film. Both vampires share not only a nemesis but also a penchant for seducing women, with Zaleska captivating the troubled Lili and later abducting Janet. Despite concerns from producers and censors about the film’s lesbian undertones, they leaned into it for marketing, even using the provocative tagline: "Save the women of London from Dracula's Daughter!"
Where to scream: Peacock, digital rental
Huesera: The Bone Woman (2022)
Michelle Garza’s film masterfully blends pregnancy and body horror, delivering a chilling narrative. Val (Natalia Solián), pregnant and married to the wealthy but insensitive Raul (Alfonso Dosal), initially embraces motherhood. However, she soon feels reduced to a mere vessel by her husband and his family, her individuality overshadowed by her role as a mother. Haunted by visions of the titular demon, Val reconnects with her eccentric ex-girlfriend, as the film critiques the horrors of heteronormative expectations.
Where to scream: Shudder, AMC+, digital rental
Bit (2020)
Nicole Maines (Supergirl) portrays Laurel, a trans teenager who relocates to LA to live with her brother after her transition. After a night out at a club, Laurel finds herself drawn into a world of vampires who target predatory men roaming the city. What begins with a kiss soon turns bloody, as Laurel is invited to join their vengeful crusade.
Where to scream: Prime Video, Tubi
Bride of Frankenstein (1935)
The iconic Bride of Frankenstein is a masterclass in queer subtext, so overt it barely qualifies as subtext. The flamboyant Dr. Septimus Pretorius (Ernest Thesiger) steals the show, luring Victor Frankenstein away from his wedding night to collaborate on creating life. The film’s campy tone, combined with queer representation both on and off-screen (including Thesiger and director James Whale), makes it a quintessential gay horror fantasy.
Where to scream: Peacock, digital rental
Stranger by the Lake (2013)
This horror film channels the allure of classic erotic thrillers. Franck (Pierre Deladonchamps), a frequent visitor to a secluded nude beach and its surrounding cruising grounds, becomes entangled in a steamy affair with Michel (Christophe Paou). Their passionate encounters, often explicit and set in the woods, take a dark turn when Franck witnesses Michel drowning someone in the lake. As the murder investigation unfolds, Franck grapples with his desire for Michel, risking everything for the intoxicating thrill of their relationship.
Where to scream: Digital rental
Seed of Chucky (2004)
Don Mancini, the openly gay creator of Child's Play, has infused queer subtext into the series since its inception. The casting of Jennifer Tilly, an icon from Bound, as the voice of Tiffany in Bride of Chucky (1998) marked a shift toward more overt queer themes. However, it was Seed of Chucky that fully embraced the chaos, featuring Tiffany and Chucky (Brad Dourif) raising their non-binary child, Glen-or-Glenda (a nod to Ed Wood’s film), while attempting to possess the bodies of Jennifer Tilly and Redman, who play themselves. The film’s campy brilliance is further elevated by a cameo from John Waters, adding his signature seal of approval.
Where to scream: Netflix, digital rental
Bodies Bodies Bodies (2022)
While many queer horror films explore the struggles of being non-heteronormative, Bodies Bodies Bodies centers a queer couple from the start. Sophie (Amandla Stenberg) and Bee (Maria Bakalova) are a relatable pair who find themselves in a nightmarish situation when Sophie introduces Bee to her old friends. A seemingly harmless murder-mystery game spirals out of control when a real death occurs, revealing Sophie and Bee as the only sane ones in a group of increasingly unhinged individuals.
Where to scream: Max, Paramount+, digital rental
The Jessica Cabin (2022)
While not outright terrifying, The Jessica Cabin offers a bittersweet yet endearing ghost story, ideal for those seeking horror-adjacent content without the gore. Nicky (Chase Williamson) and Preston (Will Tranfo), a couple with a strained relationship, arrive at the titular Airbnb, only to discover its dark history—named after one of the many who died there. Their stay is observed by Jackson (Daniel Montgomery) and Taylor (Riley Rose Critchlow), two ghostly best friends trapped in a monotonous afterlife. When Jackson becomes infatuated with Nicky, the story unfolds into a poignant tale of love and longing, embodying the essence of classic ghost stories.
Where to scream: Tubi, Prime Video
Daughters of Darkness (1971)
The 1970s saw a surge in erotic bisexual vampire films, but none matched the sophistication and allure of Daughters of Darkness. Unlike others that catered to male fantasies, this film exudes an arthouse aesthetic, blending elegance with depth. Delphine Seyrig stars as Countess Elizabeth Báthory, who encounters a newlywed couple during their honeymoon. The Countess seduces the wife, challenging societal norms and exploring themes of desire and liberation with a hauntingly beautiful style.
Where to scream: Shudder, Tubi, digital rental
Spiral (2019)
Jeffrey Bowyer-Chapman portrays Malik, a man who relocates to a small town with his white partner, Aaron, and their teenage daughter, seeking tranquility. However, their hopes for peace are quickly shattered as strange occurrences unfold—starting with subtle microaggressions and escalating into more sinister events. Malik, who is both openly gay and Black, becomes increasingly aware of the hostility around him, leading him to question his relationships and his own mental stability. (Note: This is not to be confused with the 2021 Saw installment sharing the same title.)
Where to scream: Shudder, AMC+, digital rental
The Lost Boys (1987)
Helmed by openly gay director Joel Schumacher (years before his campy Batman & Robin), The Lost Boys follows brothers Sam (Corey Haim) and Michael (Jason Patric) Emerson as they relocate to the sun-soaked town of Santa Carla, California. Michael is quickly drawn into a seductive vampire gang led by the charismatic David (Kiefer Sutherland). While initially lured by the allure of Star (Jamie Gertz), Michael’s fascination shifts to David, underscored by a blood-drunk vision where Star fades, leaving only David. The film’s theme song, with its refrain of "Love is with your brother," further cements its queer undertones.
Where to scream: Digital rental
The Babadook (2014)
The Babadook’s accidental queer icon status began when Netflix mistakenly categorized it under LGBT films. Over time, the joke evolved into a meaningful interpretation. The film serves as a powerful allegory for queer experiences, particularly for parents of LGBTQ+ children. Amelia (Essie Davis), a widowed mother, struggles to cope with her son Sam’s troubling behavior. The Babadook, a monstrous manifestation of grief, grows stronger the more Amelia tries to suppress it—mirroring the challenges of accepting a child’s identity. Only through acceptance and embracing reality does Amelia find peace, offering a poignant metaphor for understanding and love.
Where to scream: Netflix, Shudder, AMC+, digital rental
Rope (1948)
In this Hitchcock classic, two meticulous roommates (wink, wink) host a dinner party with a dark secret: they’ve just murdered an old prep-school friend and hidden his body in a wooden chest, which doubles as their dining table. Brandon and Phillip (John Dall and Farley Granger), embodying the worst of elitist arrogance, commit the crime to flaunt their perceived intellectual superiority. Shot in what appears to be a single take, the film’s tense atmosphere and razor-sharp dialogue amplify the suspense. Loosely inspired by the real-life Leopold and Loeb case, the movie remains a chilling exploration of privilege and amorality.
Where to scream: Digital rental
Scream (2022)
Jasmin Savoy Brown shines as Mindy Meeks-Martin, the pop-culture expert of the “core four” in the Scream requel. As an out lesbian, Mindy brings the franchise its first canonically queer character, adding depth to a series that began with killers inspired by Leopold and Loeb. With sharp wit and gruesome kills, the fifth installment revitalized the franchise, delighting its massive queer fanbase and paving the way for an even more thrilling sequel.
Where to scream: Paramount+, digital rental
Jennifer’s Body (2009)
Initially misunderstood upon its release, Jennifer’s Body has since earned its status as a cult classic. The film follows Jennifer (Megan Fox), a popular teen transformed into a succubus by exploitative men, who begins preying on her male classmates. Her best friend, Needy (Amanda Seyfried), watches in horror as Jennifer’s rampage unfolds. While the characters aren’t explicitly queer, the film’s sharp critique of toxic masculinity and heteronormativity has resonated deeply with LGBTQ+ audiences, cementing its place as a beloved gem.
Where to scream: Hulu, Tubi, digital rental
Nadja (1994)
This avant-garde vampire tale begins with two pivotal events: the death of Count Dracula at the hands of Van Helsing (Peter Fonda), which devastates his daughter Nadja (Elina Löwensohn), and Nadja’s subsequent seduction of Van Helsing’s daughter to turn her into a thrall and exact revenge. A standout in the genre of seductive queer female vampires, Nadja combines arthouse aesthetics (with David Lynch producing and appearing in a cameo) with a mix of blood, gore, and sapphic allure.
Where to scream: Prime Video
ParaNorman (2012)
The stop-motion animated gem ParaNorman earned critical acclaim for its brilliance, though it saw only modest commercial success. The story follows Norman (Kodi Smit-McPhee), a boy who can speak to the dead, a gift that isolates him and makes him a target for bullies. Mitch (Casey Affleck), the older brother of Norman’s best friend, initially appears as a stereotypical jock but is later revealed to be gay, a fact Norman’s sister discovers alongside the audience. While Norman grapples with acceptance, Mitch embodies self-assurance, making this family-friendly horror film both clever and delightfully eerie.
Where to scream: Digital rental
The Fear Street Trilogy (2021)
This trilogy, based on R. L. Stine’s books and directed by Leigh Janiak (known for Honeymoon), delivers a cohesive tone and quality across all three films. The story revolves around Deena and Sam (Kiana Madeira and Olivia Scott Welch), a pair of star-crossed lovers battling an ancient curse that spans centuries. Fear Street Part One: 1994 introduces Shadyside, a town plagued by a history of gruesome murders, where a group of teens accidentally awakens a witch’s curse, reviving a murderous cult. The series blends Stranger Things-style nostalgia with genuine scares and gore, appealing to young adults while paying tribute to classic horror. The saga continues with Fear Street Part Two: 1978 and concludes with Fear Street Part Three: 1666.
Where to scream: Netflix
Suddenly, Last Summer (1959)
While it may seem unconventional to classify this Tennessee Williams adaptation as horror, its themes of cannibalism and forced lobotomies firmly place it in the genre. The Southern Gothic mystery centers on the mysterious death of Violet Venable’s (Katherine Hepburn) son during a Spanish holiday. Violet, who once facilitated her son’s encounters with men, is desperate to conceal the gruesome details of his demise. She even considers lobotomizing one of his closest friends to ensure silence. The film builds to a bizarre and unforgettable climax, solidifying its place as a wild and unsettling classic.
Where to scream: Digital rental
Titane (2021)
In a cinematic landscape dominated by superhero films, Titane stands out as a bold, unconventional tale. The story follows Alexia/Adrien (Agathe Rousselle), a gender-fluid erotic dancer who becomes pregnant after a surreal encounter with a car and is later mistaken for the long-lost son of a grieving father (Vincent Lindon). Adding to the chaos, Alexia/Adrien is also a serial killer. Writer/director Julia Ducournau crafts a bizarre yet poignant love story, where gender nonconformity is portrayed not as a source of horror but as a foundation for connection and acceptance.
Where to scream: Hulu
A Nightmare on Elm Street 2: Freddy’s Revenge (1985)
The underlying message is so evident that it barely qualifies as subtext, yet many straight viewers in 1985 overlooked it. The film flips the script by placing Jesse (Mark Patton) in the role typically reserved for the 'final girl' in slasher movies of that time. Freddy manipulates Jesse, even touching his lips with his bladed fingers; Jesse escapes both danger and his girlfriend in a state of equal panic, often barely dressed. He encounters his gym teacher in a leather bar, and the same man later meets a humiliating end, spanked to death in a locker room. As a metaphor for the struggles of a closeted teenager, it’s remarkably effective.
Where to scream: Digital rental
The Perfection (2018)
Echoes of Suspiria (and Black Swan) are present as Charlotte Willmore (Allison Williams) comes back to her elite music school after a hiatus, only to discover another woman (Logan Browning) has assumed her top position. The two embark on a sexual relationship—though this seems mild, the deliberately fragmented story soon spirals into intense, suffocating body horror. While not the first film to extract dark excitement and gore from the world of arts education, it pushes the boundaries further than most, if not all.
Where to scream: Netflix
The Latent Image (2022)
Despite its limited budget, The Latent Image stands out as a cabin-in-the-woods slasher film, infused with artistic and surreal elements. Ben (Joshua Tonks), a novelist struggling with writer’s block and separated from his boyfriend, encounters a mysterious stranger (Jay Clift) who may simply need shelter for the night. As Ben’s imagination runs wild, the boundaries between reality and fantasy blur, creating a tense dynamic that oscillates between potential romance and impending violence.
Where to scream: Tubi, digital rental
Diabolique (1955)
Diabolique revolves around a wife and her husband’s mistress, who plot to kill him and hide his death—their relationship brims with subtle sexual tension and the complexities of a love triangle. The husband, once the headmaster of a gossip-filled boarding school, leaves the two women scrambling to maintain secrecy in a plot full of twists. Simone Signoret and Véra Clouzot portray one of cinema’s most memorable pairs, even though their more overt relationship from the original novel was toned down for the film. Their bond, however, is evident to the school’s students and staff, as they travel together, share rooms, and even sleep in the same bed. A pivotal scene mirrors a breakup, adding emotional depth. The film’s raw realism famously influenced Hitchcock’s Psycho.
Where to scream: Max, The Criterion Channel, digital rental
All of Us Strangers (2023)
Though not marketed as a horror film (Searchlight positions it as a romantic fantasy), All of Us Strangers delivers a profound sense of existential dread that rivals most entries on this list. While it lacks gruesome killings, its exploration of loneliness and the fear of being forgotten is deeply unsettling. The narrative centers on Adam (Andrew Scott), a solitary screenwriter who begins a romance with his enigmatic neighbor Harry (Paul Mescal), the sole occupants of a towering apartment complex. Their connection prompts Adam to revisit his childhood home, where he encounters his deceased parents, seemingly alive and well. The film poignantly underscores the inevitability of loss and implies that solace lies in letting go and forging ahead.
Where to scream: Hulu, digital rental
They/Them (2022)
While its bold title (pronounced “They Slash Them”) might imply something more intense, the film opts for a respectful portrayal of its queer characters. However, this doesn’t mean it shies away from darker themes. Set in a conversion camp led by the suitably detestable Owen Whistler (Kevin Bacon), the story unfolds as a serial killer lurks in the surrounding woods, seemingly driven by a thirst for bloody retribution.
Where to scream: Peacock
Midnight Kiss (2019)
Part of Hulu's Into the Dark anthology series, Midnight Kiss follows a group of gay friends (and one straight woman) as they gather in a stunning desert location for their yearly ritual: each must find a random partner to kiss at midnight. Tensions rise as old grievances resurface, exacerbated by the presence of a serial killer who remains unnoticed by most. It’s no secret that not everyone will survive to see the new year.
Where to scream: Hulu
Interview With the Vampire (1994)
While the modern TV series adaptation boldly eliminates subtext and openly explores the relationship between Lestat and Louis, this 1994 version skillfully navigates the fine line of implication. Back then, witnessing two major male stars establish a domestic life, raise their rebellious vampire daughter, and share blood was groundbreaking. The film remains a captivating tale of cohabitation and carnage set in New Orleans, blending horror with a touch of dark humor.
Where to scream: Digital rental
The Haunting (1963)
Robert Wise, a director renowned for excelling in multiple genres, crafted what many consider the finest haunted house film ever made. The movie is clever and understated, following a group of individuals, including the timid Eleanor (Julie Harris) and the bold Theo (Claire Bloom), as they gather in the eerie mansion. Theo’s sexuality is subtly implied, and she defies stereotypes, portrayed as neither a victim nor a villain. Both women find solace in the house, viewing it as a sanctuary from a world that marginalizes them—making the haunted abode seem almost welcoming.
Where to scream: MGM+, Tubi, digital rental
What Keeps You Alive (2018)
The story begins with a young married couple, Jackie (Hannah Emily Anderson) and Jules (Brittany Allen), retreating to a secluded family cabin. Initially, all seems idyllic until an old acquaintance refers to Jackie as “Megan.” Jules grows wary, and her suspicions are justified as she slowly uncovers that her wife may not be who she claims to be—and may harbor dangerous intentions. This unsettling premise is masterfully brought to life.
Where to scream: AMC+, digital rental
Slay (2024)
While some films aim for elevated horror, this Tubi original embraces pure campy fun. Featuring RuPaul stars Trinity the Tuck, Heidi N Closet, Crystal Methyd, and Cara Melle as—what else?—a group of drag queens, the story kicks off when they arrive at a shady bar for a gig, only to stumble into a vampire-filled nightmare. Though it could have been mere silliness, the cast and crew deliver with genuine effort: the acting is surprisingly solid, and the practical effects are commendable, showcasing a budget well spent. Imagine From Dusk Till Dawn, but with a fabulous queer twist.
Where to scream: Tubi
Pitchfork (2017)
Let’s face it: the LGBTQ+ community deserves its share of playful slashers, and this stylish entry stands out. The story begins as a coming-of-age tale, with Hunter returning home to come out to his conservative father, but it quickly descends into chaos. Hunter and his supportive friends find themselves pursued through the woods by the titular killer, turning the narrative into a bloody survival thriller.
Where to scream: Tubi, digital rental
Otto; or, Up with Dead People (2008)
Before delving into the more explicit territory of his next project, the horror-porn L.A. Zombie, filmmaker and queer provocateur Bruce LaBruce presented this tale of Otto, a young gay man convinced he’s a zombie. Otto crosses paths with a pair of German lesbian filmmakers creating an ambitious political-porno-zombie film (as one does). The movie’s climax features a gay zombie orgy, intertwined with a queering incident and a surreal blurring of reality and fiction.
Where to scream: Tube, digital rental
T-Blockers (2023)
Director Maio Mackay’s T-Blockers maximizes its budget by combining the bold aesthetics of classic EC Comics with authentic and gripping performances. The film follows Sophie (Lauren Last) and her tight-knit group of queer friends navigating life in an increasingly hostile world. Their struggles intensify when parasitic worms appear and people start vanishing. The metaphor for the rise of alt-right bigotry is unmistakable, but that’s the film’s strength: it’s both a coming-of-age story and a defiant rejection of hate, wrapped in a grotesque and eerie monster movie.
Where to scream: Digital rental
Psycho (1960)
Hitchcock frequently collaborated with queer actors and explored subtly veiled queer themes in films like The Lodger, Strangers on a Train, North by Northwest, and Rope. Anthony Perkins, a closeted actor, elevates this further—Norman Bates’ timid, unassuming, and almost boyish demeanor masks a turbulent, ambiguous sexuality that becomes the explosive force driving the narrative. His fixation on Janet Leigh’s Marion Crane, or perhaps his belief that he should be fixated, clashes with his cross-dressing alter-ego mother, who declares that women are repulsive and must be eliminated. Described as “fruity,” the film’s climax in the fruit cellar might be a coincidence, but it feels like the kind of sly, humorous touch Hitchcock adored.
Where to scream: Prime Video
