It can be overwhelming to think about all the horror films you haven’t seen yet. If you’re a queer fan, then you may be seeking out queer horror movies to sink your fangs into. Well, you’ve come to the right place for that because we’ve got the goods for you today.
Some of the following films will push your boundaries, showcase queer characters in varying ways, and they may be confronting. That's why there are several films across subgenres to choose from. Queer horror is more than just The Hunger (1983), Jennifer’s Body (2009), Bodies Bodies Bodies (2022), or I Saw the TV Glow (2024). Expanding your viewing when it comes to queer horror doesn’t have to be strictly for Pride Month.
Below you’ll find a whole lot of rainbow, and isn’t that fantastic? You may very well find a new film to add to your watchlist.
What Keeps You Alive (2018)
Writer/Director: Colin Minihan
Killer women shouldn’t be underestimated, nor should they always be straight and sympathetic. What Keeps You Alive follows Jackie (Hannah Emily Anderson and Jules (Brittany Allen), a lesbian couple whose anniversary vacation turns into a fight for survival, where one of them reveals their true nature. Instead of these characters being subjected to terror by way of a strange man in a mask, they are in a survival game against one another. While the premise isn't necessary queer, it’s an intriguing situation to put queer people in all the same.
Queer characters don’t always need to be beacons of hope in any genre. Allowing queer characters to be villains just because they are isn’t a bad thing. If queerness is the reason they’re seen as a monster, then that’s another conversation. But that’s not the case in this film, and neither of the characters are without their own suffering.
Knife + Heart (2018)
Director: Yann Gonzalez
Writers: Yann Gonzalez and Cristiano Mangione
There’s a lot of queerness, but there’s also a lot of misery in this giallo-inspired French horror film. Knife + Heart follows Anne (Vanessa Paradis), a gay porn producer whose life begins to spiral out of control, especially when her actors begin to be picked off by a serial killer. The film is set in the late ‘70s, and it captures those aesthetics perfectly through the costuming and the atmosphere. What the film revels in is not only its ‘70s time period, but queerness and what it meant to be queer before and during the ‘70s.
There’s no happy ending for the characters by the end of the film, which may not make for a satisfying story for some folks. But the reality is - queer characters can go through all sorts of journeys, and they don’t all end happily. If you don’t mind the idea of seeing dysfunctional queer people, queer life in the ‘70s, and a serial killer who is far more complex than expected, then you’ve found a keeper in Knife + Heart.
Spiral (2019)
Director: Kurtis David Harder
Writers: Colin Minihan, John Poliquin
It’s incredibly important to understand that not every queer experience is the same, and intersectionality is something that more people need to be educated on. Spiral (2019) is set in the ‘90s and follows Malik (Jeffrey Bowyer-Chapman) and Aaron (Ari Cohen), a gay interracial couple, and Aaron’s daughter. Their move to a small town proves to be the wrong choice when the neighbors are hiding secrets. There’s a lot of unease in the small town setting, there’s a lot of racial as well as homophobic tension, and the ‘90s setting is enough to remind people that things weren’t daisies and roses back then. Especially as Malik is a gay Black man in a town that mostly consists of white residents.
Spiral is frustrating for Malik’s character because of how many people are working against him. The ending will hit you in the gut and not offer you much in the way of reprieve for that. But the performance from Jeffrey Bowyer-Chapman in particular, will be enough to keep you distracted until then. It’s a relatively hidden Canadian horror gem and it’s worth a watch.
The Retreat (2021)
Director: Pat Mills
Writer: Alyson Richards
Subverting a trope such as “bury your gays” with lesbians is pretty ingenious. The Retreat follows Valerie (Sarah Allen) and Renee (Tommie-Amber Pirie), a lesbian couple whose mini vacation goes off the rails when they’re kidnapped by deranged individuals who run paid livestreams of the torture and murder of queer people. The concept alone is scary, but instead of making Valerie and Renee into damsels in distress, they are allowed to fight back. It’s a stressful experience for the couple throughout the film, but understanding that there’s a subversion of the trope we all know all too well will help alleviate you.
It’s satisfying to watch a sapphic couple get revenge and take down people who are harming folks across the queer community for money. And there’s no shortage of violence being committed by Valerie or Renee. If you want a tale where queer women are able to fight back against their attackers, you’ll enjoy this.
Titane (2021)
Writer/Director: Julia Ducournau
Mechanophilia to the max is a huge part of this French body horror film. Titane follows a serial killer named Alexia (Julia Ducournau) who is a mechanophiliac, and she finds herself going down a path she never expected to. The film is transgressive, weird, and may very well upset some folks in terms of its exploration of gender identity. Not to mention, the main character is a serial killer who has no qualms about it.
French horror is oftentimes more willing to soak in transgressiveness, including when it comes to queer stories. Alexia is explicitly a queer person, who also happens to be a secret serial killer. Thus adding a complicated aspect to her story and whether you’re rooting for her throughout. The film is certainly worth checking out if you want to challenge yourself.
Attachment (2022)
Writer/Director: Gabriel Bier Gislason
It’s not every day when Jewish folklore is incorporated into a horror film. Attachment follows a Danish actress named Maja (Josephine Park) and a Jewish academic named Leah (Ellie Kendrick), who fall in love but are forced to go back to Leah’s hometown of London when she falls mysteriously ill. This story is quite unique because of the Jewish folklore, as well as the subversions that unfold throughout the film. Maja’s suspicions regarding what’s happening to Leah are valid, but everything is not what it seems.
Attachment isn’t for the crowd of folks who are looking for a fast-paced horror movie. It burns slowly, and it takes its time with the exploration of its lore, Maja and Leah’s relationship, and Leah's dynamic with her overprotective mother. If you enjoy queer stories where it’s not obvious what’s going on, you’ll appreciate this.
Slay (2024)
Writer/Director: Jem Garrard
Real-life drag queens playing drag queens who fight vampires is exactly as fun as it sounds. Slay follows a crew of drag queens who end up stuck in a small town bar and are forced to fight off vampires alongside the townsfolk. Writing this film off because it’s a Tubi Original is the wrong choice to make, as this is a major delight and wonderfully entertaining. The authenticity of Drag Race (US and UK franchises) stars, as well as having a queer and non-binary director/writer makes this such a comfort watch.
There’s some commentary regarding small town life and queer folks who live there, being stuck in the closet because of your environment, and the absurdity of homophobia. And it’s all done in a way that blends comedy with seriousness. It’s a fun film to watch, and you won’t regret having done so.
The Serpent’s Skin (2025)
Director: Alice Maio Mackay
Writers: Alice Maio Mackay, Benjamin Pahl Robinson
Alice Maio Mackay strikes again, and it’s lovely. The Serpent’s Skin follows Anna (Alexandra McVicker), who leaves her transphobic hometown in favor of starting over in the city. She meets a tattoo artist named Gen (Avalon Fast) who she becomes involved with due to them both having supernatural abilities. The chemistry between Alexandra McVicker and Avalan Fast makes this film so incredibly charming.
The Serpent’s Skin is a story that’s perfect for folks who want to further support trans filmmakers, enjoy queer relationships where they aren’t presented with predictable drama, then you will enjoy spending time in this universe. The film has a lot of heart, and it’s one of Mackay’s best.
If you haven't already, consider supporting worker-owned media by subscribing to Pop Heist. We are ad-free and operating outside the algorithm, so all dollars go directly to paying the staff members and writers who make articles like this one possible.
