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.

A serious heart condition puts an end to Charlie King's job as a "street copper", but he refuses the offer of a desk job and a promotion. When a secret team of negotiators approaches him with the offer of a job, he's intrigued, but who is he dealing with?
There’s enough evidence to insinuate that What We Do in the Shadows is intentionally queer-coded.
Slumber Party Massacre is a gory film with just enough commentary on sexist excuses, the validity of women's voices, and the inherent feminism of the slasher.
"WHAT ARE YOU WILLING TO SACRIFICE?!!!!" "EVERYTHING!!!!!" This is but one of a multitude of highly emphatic questions, and subsequent answers, being asked in the newest feature film from one of the current masters of horror, Jordan Peele ("Get Out", "Us" and "Nope"). I must give Peele credit in that he continues to push the boundaries of specific genres and their associated tropes in order to provide what ends up amounting to subtly then jarringly intense, yet still character and story-driven, cinema that speaks more to indie stylings than mainstream.
The beating heart of this film is the relationship between Anna Osborne and Sonya Rockhouse.
The horror franchise that had moviegoers watching behind their fingers but on the edge of their seats. The Conjuring quartet released its final installment this year, and it did not disappoint.
Joker is a compelling, character-driven, psychological tale that has a message behind the madness.