Freaks (1932)

Classic horror film criticism centers around the horror film as a cinematic treatise on the "monstrous Other'. The "monstrous Other" can be defined as "repulsive" or an "undesirable" aspect of society brought to bear in physical form. This "monstrous Other" can also be a dog whistle: some marginalized group can be coded within the characteristics of the monster, and in the monster's destruction is the symbolic destruction of the "Othered" group. Unfortunately, in horror film history the "monstrous Other" was often a marginalized identity. As often intentionally filmmakers associated the identities of society's most vulnerable (BIPOC, people with disabilities, LGBTQ+ folks, immigrants, the working poor, unhoused peoples, and women to name a few) with monstrosity and horror. Sleepaway Camp (1983) is an infamous example where the protagonist Angela Baker has an association between her murderous rampage and forced transgender identity. Freaks (1932) is another infamous example where circus troupe performers of various physical and mental disabilities are exploited for personal gain and go on a murderous rampage in a dark stormy setting. Their disabilities are seemingly more emphasized than their murderous intent with deliberate angle choices that frame their disabilities in obscene ways.

The examples are numerous.

However, in modern horror, filmmakers are taking a counter approach: by using monstrosity to explore the vulnerable identities that get placed as "Othered". Black as Night (2021) signals to the observant viewer that this is its intention. At first glance, Black as Night is a strange title choice for a film about vampirism in post-Katrina New Orleans. However, the title alludes to several anti-black and colorist messages, such as the omnipresent association of darkness and blackness with sin and evil. The film reframes the romanticization of vampires by giving the main antagonist a worthy motivation with a complicated plan of action. The film also delves into classism and the poor treatment of the mostly Black Hurricane Katrina survivors. Speaking to anti-blackness, colorism, misogynoir, and the mistreatment of the poor is a grand ambition for any film let alone a vampire horror. Writer Sherman Payne and director Maritte Lee Go make up for the film's shortcomings with brave hearts and big ambition.