The Skeleton In The Closet: 8 LGBTQ+ Horror Films Claiming The Genre
When you think of the horror genre, the LGBTQ+ community is probably one of the last things you think of. However, horror is much more queer-coded than you may think.

Sarah LaMere had loved Michael Rome Matthews for a long time. She witnessed him marry her best friend, only to lose her along with two sons in an accident. Now that they are together at last she is devastated to learn that she can never have children. While Rome tries to accept this, Sarah believes motherhood is her only path to happiness and security with the man she loves and she becomes increasingly unbalanced. Seemingly out of nowhere children's clothes and toys appear in the house and then a strange young girl named Melissa appears, whom Sarah treats as her own child. When their landlady is horribly murdered after questioning Melissa, Rome fears the line separating reality and fantasy has been crossed.
When you think of the horror genre, the LGBTQ+ community is probably one of the last things you think of. However, horror is much more queer-coded than you may think.
'The Worst Person In The World' follows a part of life I don't see often portrayed on-screen: extended adolescence.
Juno is extremely funny, very well-written, and contains great performances. The film is also about a very important topic, one that is extremely relevant now: women’s reproductive rights. Is this Oscar-winning film spreading a pro-life or pro-choice message to its audience?
A cat-and-mouse chase that will make viewers nostalgic for the cartoon series.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.