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.

"Stranger Than Paradise," vaguely associatively linked to Jim Jarmusch's wintery Eighties road movie, is a genuinely film-choreographed work: a hybrid, subtly futuristic chamber play for eight people and an investigative camera. Set in sunken moods and deceptive images, this dance film is an elegy that marks the transition from one species to the next. "Stranger Than Paradise" is a reflection of the systematic expansion of the human and animalistic into the mechanical and sometimes their hybrid existence. The body is obsolescent: it is still needed but the preparations for its abolition are in progress.
There’s enough evidence to insinuate that What We Do in the Shadows is intentionally queer-coded.
When the world lost Chadwick Boseman on August 28, 2020, we all saw the impact of representation in film. Boseman was not only a Black superhero leading a Black cast in one of the most successful films in history; but his successes paved the way for more, long-overdue diversity in Hollywood.
Mohit Suri’s Saiyaara (2025) is a soulful musical romance led by fresh faces Ahaan Panday and Aneet Padda. A heartfelt tale of love, grief, and emotional healing that’s taking the Indian box office by storm.
‘Candyman’ (2021) builds upon the original 1992 film by presenting the myth of Candyman not only as an example of black pain, but as an opportunity for black vengeance.
Unfortunately, People We Meet on Vacation didn’t hold up quite as well as I’d hoped.
You can have the best filmmaker and cast in the world, but if the script is lacking, you’re in a troublesome state. Such is the case with Gemini Man, a film full of tremendous artists.