What We Do in the Shadows (of Our Closet Walls)
There’s enough evidence to insinuate that What We Do in the Shadows is intentionally queer-coded.

Tired of the monotony of her work, Mary O'Hara, executive of an important American company, travels to Acapulco for a few days in search of love and adventure. On the beach, her high hopes fade, since she only meets unscrupulous playboys. She declines all offers she gets until she meets Pancho el Golfo, a young man who makes a living as he can.
There’s enough evidence to insinuate that What We Do in the Shadows is intentionally queer-coded.
“To be universal, you have to get specific”: while the film does not attempt to provoke discussions about queerness or race, those watching closely may find something resonant in Sorrentino’s love letter to the Naples of his youth.
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The French-born director Laure de Clermont-Tonnerre’s strategic choice to entrust the interpretation of a conventional, feminine character to a non-binary actor pays off: Corrin’s Lady Chatterley is awkward, edgy, and uninhibited at the same time.
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