As the Halloween season comes to a close, now is the perfect time to curl up with some popcorn and have a frighteningly good time with some Queer Horror classics.
Despite Horror movies of the past being extremely problematic and filled with misogyny, homophobia, and racism, there is a rich history of Queer Horror nonetheless. Creators from every shade of the rainbow have molded and arguably created the genre.
That being said, Horror is meant to be taboo and problematic. There are some films that go a bit too far for most people. These films mostly steer clear of those unsavory elements, instead showcasing queer filmmakers and stories.
1. A Nightmare on Elm Street 2: Freddy’s Revenge (1985)
An absolute cult classic of gay horror cinema, whether or not the filmmakers meant it to be. The controversy surrounding this film’s legacy is fascinating and worth looking into.
Set five years after the original surprise sensation, a new family has moved into the famed Elm street house. Jesse, played by Mark Patton, is mainstream horror’s first final boy. Jesse spends his nights tormented by nightmares of a mysterious figure in a fedora and tattered sweater.
Oh, and knives for fingers.
Changing things up from the original formula, Freddy Krueger, with the iconic Robert Englund returning, wants out of the dream world and into ours by possessing Jesse. As our hero’s mind deteriorates, bodies start dropping in spectacular fashion.
Absolutely drenched in gay subtext and homoeroticism, Freddy’s Revenge was initially shunned by critics and audiences. Some say the poor reception was due to rule-breaking changes like Freddy slashing his way through a pool party in the real world, while many others weren’t so coy with their discomfort around the themes of the film.
The Dark Ones be blessed, Freddy’s Revenge has seen a resurrection of sorts in LGBTQIA+ horror fandom. To be clear, this is not one of those movies that have a following just because of its gayness.
The movie itself stands as a damn good horror flick.
The performances are great, especially Patton and Englund. We get a protagonist to really root for in Jesse. He’s charming and fun one second and intensely vulnerable the next. Subtle details in the movie hint at Jesse’s complexity and internal struggles as he battles the man inside him.
Englund’s Krueger is a far cry from the wisecracking villain of future installments. There is a visceral menace and danger to him that both terrifies and seduces. The first scene shared by Freddy and Jesse is unsettling in its intimacy as Freddy’s razor-sharp blades glide over Jesse’s face.
The practical effects in some scenes are genuine showstoppers. When Jesse turns to his hunky best friend Grady (Robert Rusler) for help, Freddy bursts through in a truly amazing and horrifying fashion. It is mind-blowing how great the effect works considering the rushed production and limited budget.
The cinematography and editing conjure the best ideas of the franchise where you are never sure if awake or sleeping. The scene where Jesse sleepwalks to a local leather bar is a great example where the dreamy look and surreal vibes come to a crashing halt when Jesse runs into his sadistic Gym teacher.
With fun kills, a charismatic cast, beautiful visuals, deep themes, and a stellar dance sequence to boot, Freddy’s Revenge is a gay old time.
2. Interview with the Vampire: The Vampire Chronicles (1994)
Based on Anne Rice’s popular series, Interview with the Vampire stars peak-era Brad Pitt as Louis de Pointe du Lac, a nearly 200-year-old vampire who has chosen to tell the story of his life to a young journalist, played by Christian Slater.
Louis is a wealthy widower in late 19th century Louisiana. The death of his wife and child has sent Louis down a dark path of self-destruction. One night while drunk and brooding, Louis is turned by the vampire Lestat.
While Louis has an aversion to killing, his new, ahem, companion Lestat indulges in every form of dark pleasure. Wanting to fix their strained relationship, Lestat arranges for Louis to sire a wee vamp daughter in Claudia.
Set almost entirely in the turn of the 20th century, director Neil Jordan showcases gorgeous costumes and art direction that borders on cheesecake period drama.
The film has less queer subtext and more queer vibes. Watching Lestat and Louis saunter down the dark New Orleans streets, you can’t help but ask “are they… you know?”.
The cast is mostly stellar here, with Cruise standing out by bringing every ounce of intensity and charm to Lestat. Even with the foppish outfits and blonde wig, Lestat is scary. There’s a sense that at any moment, he will tear your throat out and there would be no way to stop him.
Kirsten Dunst was only 10 years old when she landed the role of Claudia, which is bananas when you watch her performance. She not only nails the creepiness of a cherubic monster but portrays the curse of mentally growing up while stuck in the body of a child perfectly.
It is rare to find a child actor who can hold their own on-screen with some of the biggest stars in Hollywood history.
It would be a shame not to mention Antonio Banderas as Armand, a vampire elder Louis meets in his quest for vampire knowledge. Brimming with Banderas’ trademark sex appeal, Armand embodies the seductive nature of vampires.
Watching him play with a candle flame as he monologues will turn anyone’s knees to jelly.
The movie changes more than a few things from the book, but one of the most obvious is the nature of Louis and Lestat’s relationship. In the original novel, the two were clearly lovers. That went out the window in the major studio adaptation, giving them more of a brotherly love.
Rice herself was concerned the movie would never get made based on the homoerotic elements, even writing a version of the script to change Louis’ gender. She actually wanted Cher for the role.
There is a timeline where we could have had an erotic vampire movie starring Cher and Tom Cruise, and we all weep over the loss of this obvious masterpiece.
Like vampires themselves, the film is a dreamy and poetic tale that pulls you in close. While light on jump scares and gore, the few scary set pieces more than makeup for it.
3. Seed of Chucky (2004)
Who would have thought that the fifth installment of a major franchise about a foul-mouthed killer doll would break down barriers of gender identity?
Few franchises change tone as wildly as the Child’s Play franchise. Fewer even still are the ones that have the same creative team guiding the series from the beginning. Don Mancini’s creation went from straight horror to dark comedy to campy comedy and back to horror then struck a balance between all iterations.
Seed of Chucky is by far the goofiest of all Chucky movies. It is less tense horror and more a satire of early 2000s Hollywood.
Seed picks up six years after 1998’s Bride of Chucky, the one where Jennifer Tilly joined the cast as Tiffany, the possessed murderous doll wife to Chucky. The ending of Bride shows Tiffany giving birth to some sort of demonic doll baby. Chucky and Tiffany are dead, but their bundle of joy lives on as Billy Boyd’s Glenn.
Glen is a sweet, soft-spoken living doll who wants to finally meet his parents. When Glenn sees a promo for an in-universe film about the infamous serial killer duo Cucky and Tiffany, he makes his way to Hollywood and resurrects his folks.
For what is essentially a campy and bloody romp through showbiz, there are some heavy themes going on. In addition to Chucky and Tiff butting heads over their “addiction” to killing, the two argue over their child’s gender.
Glen has an androgynous design, a high-pitched voice, and no genitalia.
Chucky sees Glen as a boy, Tiffany sees a daughter, and Glen doesn’t know how to identify. While this story could be handled so poorly and does feel outdated at times, it is surprising how much care is taken.
Taking over directing duties for the first time, Mancini shows a lot of empathy toward Glen and their struggle. If this movie wasn’t about psychotic dolls, the story about toxic family dynamics around addiction and gender conformity could make for a heartbreaking drama.
Boyd is the perfect casting for the voice of Glen. Better known as Pippin in Peter Jackson’s Lord of the Rings trilogy, Boyd’s soft Scottish voice gives a real vulnerability to a ridiculous character.
While Boyd is fantastic and Brad Dourif’s return as Chucky is always welcome, Tilly steals this movie in her duel roles. As Tiffany, her deadpan delivery of a twisted Betty Crocker is hilarious. Tilly also showcases her sense of humor by playing a version of herself as a washed-up actress, willing to sleep with a director for the part of the Virgin Mary.
The humor is over the top, but the kills are even crazier. With buckets of blood and gore to spare, the deaths illicit more cheers than screams.
Seed of Chucky may be a major diversion from previous chapters and feels incredibly dated with the pop culture references, but it is just plain fun.
4. The Lost Boys (1987)
What do you get when you mix a gay director, a jacked saxophone player, and vampires?
A goddamn classic.
Joel Schumacher’s The Lost Boys follows Michael, his little brother Sam, and their mother as the family moves to Santa Carla, California to live with their grandfather. Santa Carla is a thriving beachside community with a dark secret.
It is also home to the legendary “Sexy Sax Man”, a meat mountain who goes so hard on the sax you can’t help but cheer.
Michael’s brother Sam meets the Frog brothers at the local comic book store. The Frog brothers are pint-sized vampire hunters, seemingly the only ones in town who know why so many people go missing from Santa Carla every year.
Together, the four of them must stop the vampires and save Michael from fully transforming into a monstrous bloodsucker.
The movie is a glorious mixture of dark comedy and horror. The vampires are a far cry from the prim and proper likes of Dracula, taking glee in the carnage they unleash.
Kiefer Sutherland brings a perfect blend of intimidation and intrigue to David. He’s dangerous and cool, making David someone who scares the shit out of you but you desperately want to impress.
It should also be noted that the look of the vampires when they are ready to feed, with ridged brows and gleaming fangs, was straight-up stolen for Joss Whedon’s Buffy the Vampire Slayer.
Schumacher, an openly gay director, shows off his trademark visual style to make Santa Carla feel almost surreal at night. Gliding shots over the water as the vampires fly around and dense fog gives a dream-like quality to the world.
There is also no shortage of sparks flying between Michael and David. The queerness is kept under the surface but is impossible to miss. Many vampire stories have erotic undertones, but this one actually works better because it is being played close to the vest.
Jason Patric, who plays Michael, and Sutherland have this tangible electricity between them on screen that makes you want to yell “just make out already!”
Dianne (Frosted Mini) Wiest brings warmth to the boys’ mother, Lucy, as she tries to manage a new town with two teenagers, a kooky father, and her budding romance with local video store owner Max, played by Grandpa Gilmore himself Edward Herrmann.
Dripping with 80s style, sweat, and blood, The Lost Boys is an absolute blast. If you’re looking for a funny and frightening watch, you can’t do much better than this.
5. The Bride of Frankenstein (1935)
The first sequel to any of the Universal Monsters, Bride pulls more from Mary Shelly’s original novel than the first Frankenstein film.
After the climactic attack from the villagers at the windmill, both Dr. Henry Frankenstein and The Monster survived. Henry is taken back to his fiance, Elizabeth, while The Monster falls into a flooded cavern.
After escaping the pit, The Monster does his best to avoid the townsfolk and keep to himself. When he saves a woman from drowning, she screams at the sight of him. The screams alert nearby hunters on The Monster’s trail who then shoot him before our bolt-necked boy escapes into the woods.
Meanwhile, Henry has sworn off his experiments to create life and just wants to settle down with his bride-to-be. Henry’s old mentor, Dr. Septimus Pretorious (what a name), comes to entice Henry with his own attempts to play God.
While Henry was stitching together dead body parts, Pretorious was growing teeny tiny people who live in glass jars. Pretorious has dressed them up in little outfits as royalty and clergy, showing them off before implying they all came from his “seed”.
This never comes up again, but it was too weird not to mention.
Back in the forest, The Monster hears beautiful music and follows it to the home of a blind hermit. Not being able to see The Monster, the hermit befriends him and offers to teach him how to speak.
Pretorious continues to goad Henry into building a new person, this time a woman to be The Monster’s companion. Henry refuses still, leading Pretorious to team up with the re-captured Monster to force Henry’s hand.
While bringing The Bride to life was a success, she rejects The Monster with a shriek and a hiss. In a heartbreaking scene, The Monster tells Henry and Elizabeth to flee before tearfully destroying the lab and killing himself, The Bride, and Pretorious.
The queer allegories run strong through this story. The Monster as someone who is reviled for their nature and The Bride as a woman created to love a man but is repelled by him.
The film is not all doom and gloom. In fact, it is actually very funny and camp.
Director James Whale, who also directed the 1931 original, was an out gay filmmaker in early Hollywood. When watching Bride, his almost Drag Show style of humor bursts through the screen. With queer actors Colin Clive as Henry and Ernest Thesinger as Pretorious, there is almost a full-blown wink at the audience over the character’s past relationship.
For an added layer, Bride’s framing device is an obvious nod to Mary Shelly’s close friendship with other queer historical figures Oscar Wilde and Lord Byron.
Much like the creation of the original novel, the film opens with Shelly, Byron, and Shelly’s husband (standing in for Wilde) on vacation in an opulent manor. As a storm hits, Shelly regales the others with her idea for a sequel, and we watch the story unfold.
With hauntingly gorgeous imagery, campy humor, and soul-crushing tragedy, Bride of Frankenstein is rightfully considered a timeless classic.
6. Jennifer’s Body (2009)
No movie has ever been done dirtier by a marketing team than Jennifer’s Body.
Written by Diablo Cody and directed by Karyn Kusama, Jennifer’s Body is a unique take on feminist horror. While the movie has had a much-needed reappraisal in the last few years, it was in danger of fading into memory thanks to mixed reviews and poor box office when initially released.
Megan Fox, at the peak of her fame, plays the titular Jennifer. Jennifer is the queen bee of a small town, the popular cheerleader who has every man around wrapped around her finger.
Also wrapped tightly is Jennifer’s best friend Needy, played by Amanda Seyfried. Needy is almost the opposite of Jennifer. She’s quiet and insecure, which Jennifer preys on to boost her own ego.
One night Jennifer drags Needy along to see Low Shoulder, a traveling Rock band visiting their small town. As the show comes to a close, the venue catches fire with people trapped inside. Needy sees Jennifer leave with the band and vanishing into the night.
When Jennifer reappears, things have changed. She has become a blood-thirsty succubus and begins hunting men to eviscerate. Now it is up to Needy to stop the carnage before she ends up in Jennifer’s clutches.
The film’s fresh take on feminine friendships and demonic dames is sharp, witty, and filled with thematic subtext. The uneven and somewhat toxic relationship between Needy and Jennifer is a rare sight in Horror.
While never explicitly stated, it is obvious that Needy is attracted to Jennifer. Needy worships Jennifer, following her Alpha BFF like a love-sick puppy while shrugging off every condescending remark thrown at her.
To hit the nail on the head, Needy’s name is actually Anita. Jennifer stuck her with the nickname and Needy rolled with it.
Seyfried walks the blurry line between admiration and infatuation perfectly. Even after her friend shows up at her home in the middle of the night covered in blood and vomiting black goo, there is a genuine care and concern shining through.
As the film goes on and Needy comes into her own and is forced to fight her beloved, Seyfried naturally blends the resolve and heartbreak Needy is experiencing.
Megan Fox also deserves some praise here. While her reputation at the time was “that hot girl from Transformers”, her performance is shockingly strong as Jennifer. While there is an expected level of arrogance and cruelty to her character, Fox manages to pull out a subtle vulnerability.
Before turning into a literal monster, Jennifer was molded into her unlikable persona by societal pressures dumped on young women to become sex objects. The intense bond she shares with Needy is her only lifeline in a world of patriarchal toxicity.
Someone really should have mentioned that to the people behind the movie’s publicity.
Some might remember the posters and trailers for Jennifer’s Body, which looked more like soft-core porn than a queer, feminist monster movie. In one of the greatest moments of irony, all of the promo material for Jennifer’s Body couldn’t help but objectify Fox.
As time passed, the movie was re-examined and finally recognized for the smart, scary, funny, and sexy thriller it is.
7. Fear Street: 1994 (2021)
Normally, few phrases can sink expectations as hard as “Netflix Original” does, but this one was a welcome surprise.
Based on the R.L. Stine series, Fear Street: 1994 is the first installment in a trilogy of what should have been forgettable dreck. What we got instead was a solid supernatural slasher that makes you want to watch the rest of the series.
The town of Shadyside is infamous for the number of serial killers that have wreaked havoc through out its history. Legend has it that the town is cursed by Sarah Fier, a witch murdered in 1666.
Teen badass Deena Johnson is heartbroken over her relationship ending with Sam. Sam moved to Sunnyvale, an affluent suburb nearby and Shadyside’s rival town. When Deena isn’t writing angry letters to Sam that will never be sent, she cares for her True Crime obsessed little brother Josh.
Along with her two best friends, the drug-dealing Kate and burnout-bro Simon, Deena can’t wait to escape Shadyside and move on with her life.
After a football game between the towns’ respective high schools, Deena causes a car accident that awakens dark spirits and puts Sam in their crosshairs. Now, the gang has to keep Sam safe from a slew of supernatural psychos and find a way to break Fier’s curse.
Forgot to mention Sam is a girl and deeply in the closet.
While the first act begins to feel like a CW knock-off, things quickly improve. The cast of up-and-coming actors breathes real life into their characters and makes you care more about if they’ll get slaughtered and not when.
For a series aimed at teens, this movie is surprisingly brutal. There is an impressively gory death dealt to one of our heroes that will drop jaws, even if you know its coming.
The villains are loving nods to famed slasher franchises, with an especially menacing Jason Voorhees analog. The stuntman under the burlap sack, Lloyd Pitts, channels the best of Kane Hodder’s run as Jason, becoming the embodiment of rage and power.
While a lesser creative team would have gone full Stranger Things and waterboarded the viewer with nostalgia porn, co-writer and director Leigh Janiak keeps the focus on the story and characters.
The lesbian love story at the center of the film doesn’t get heavyhanded with intense monologues about homophobia. The relationship is played like any other strained teen romance, exactly as it should be. Either Deena or Sam could swap genders, and almost nothing would change.
The series continues with two sort-of prequels that bounce between 1994 and the past, fleshing out the story of Sarah Fiers and her curse. Part Two goes back to 1978 for a fun Summer camp slasher, while Part Three gives us Sarah’s side of the story before ending with a satisfying conclusion.
Watch all three installments for a refreshing spin on teen horror and a touching lesbian love story.
8. Bram Stoker’s Dracula (1992)
The Gothic Horror masterpiece Dracula has had dozens of adaptations, but this operatic drip-fest stands out from the pack.
Directed by one of the most respected filmmakers of all time, Francis Ford Coppola, Bram Stoker’s Dracula started a trend of prestige horror films. While other attempts, like Kenneth Branagh’s 1994 Mary Shelly’s Frankenstein, fell into the ether, Coppola’s Dracula is an enduring spectacle.
Despite having the author’s name in the title, this version diverges from the novel by adding a sincere love story that echoes through time.
Gary Oldman puts on a Hall of Fame-level performance as Count Vlad Dracula. Once a brutal warrior fighting in the name of God, the death of his beloved causes him to forsake the church and become an immortal vampire.
Almost 400 years later in 1897, the Count enlists the help of solicitor Johnathan Harker to move from Transylvania to London. After imprisoning Harker and taking residence in London, Dracula gets to work seducing and draining Lucy, a wealthy socialite.
When Vlad sees Harker’s fiance, Mina, he believes she is the reincarnation of his long-lost love. The two strike up a romance immediately, both restraining themselves from indulging in their desires.
After Harker escapes and returns home, he calls upon Dr. Abraham Van Helsing to hunt and destroy the bloodsucker.
Mina runs away with Vlad back to Transylvania while Harker, Van Helsing, and a band of Lucy’s former suitors chase them down to save Mina.
So much has already been said about this version of Stoker’s classic story. Lots of people rag on Keanu Reeves’ accent as the very British Harker, but we should all cut John Wick some slack.
Using old-school camera tricks and special effects, supervised by Coppola’s son, there is an eerie, dream-like aesthetic that permeates through every frame.
The costumes are absolutely genius, especially Dracula’s wardrobe. Costume designer Eiko Ishioka was totally unfamiliar with the Dracula story, giving them fresh eyes to create some of the most iconic outfits in film history.
Aside from the overly theatrical style of the film throwing out queer vibes, there has always been a close relationship between vampires and queerness. The idea of a sexually fluid and seductive stranger who wants to bite and suck screams eroticism.
In scenes between Reeves’ Harker and Oldman’s Vlad, the sexual tension is syrupy thick. Dracula lingers his gaze on Harker like the literal and figurative snack he is.
Stoker’s novel could be seen as an allegory for his own self-loathing over his sexuality. While in later life he was an outwardly homophobic firebrand, his early letters to gay American writer Walt Whitman portray a man in anguish over his desires.
Creating a pansexual monster that can hypnotize and “turn” a man may be literature’s strongest example of an author working through some shit.
Boasting a stacked cast, gorgeous visuals, and a stirring score, this film is a feast not to be missed.
9. The Wild Boys (2017)
Content Warning: This film depicts sexual violence.
Man, this one is a doozy.
The Wild Boys is a French horror film that makes David Lynch look like Ron Howard. Shot in 16mm, bouncing between black & white and color, and utilizing every pre-digital camera trick in the book, Bertrand Mandico’s surreal tale is entrancing.
From minute one, it is almost impossible not to get sucked in.
Set in the early 20th century, The Wild Boys follows five rich teen boys who are just the worst. After sexually assaulting and accidentally killing their theater teacher, the boys are sent on a rehabilitation trip with a mysterious boat captain.
Winding up on an almost alien island, the gang of garbage teens begin to transform into women.
This artsy psychological horror delves into themes surrounding gender, sexuality, and primal cruelty. The film is caked in eroticism that is both captivating and repellent. It is an impressive feat to make a movie that is achingly beautiful and makes you want to take a shower after.
The cast of young boys are all played by women. Each actor knocks it out of the park by embodying their characters so thoroughly that you might forget that they aren’t really teenage boys.
Some reviews claim this movie doesn’t fit the bill as a horror movie, but what it lacks in creative kills is more than made up for the foreboding tone. The boys’ behavior, along with The Captain’s advances toward one of them, is extremely unsettling.
As the group starts to realize what is happening to them, they are reluctant to leave the island. Not because there are plants that look like women’s legs they can bang or dick trees they can drink from, but because they know how men treat women.
Go ahead and read that last part again and keep in mind those aren’t even the craziest things in this movie.
The stark contrast between the otherworldly visuals and intense subject matter makes for a singular viewing experience. I’m reluctant to say that even the scenes of rape and assault are hypnotizing in their aesthetic.
There is a visceral and textured feel to the settings that is almost tactile. You can smell the rotting oysters on the beach, feel the rain beating down, and taste the salty air.
The production design is uncomfortably organic. For example, The Captain will only give the boys a strange, hairy fruit to eat. The fruit looks like something from Chewbacca’s shower drain, and I found myself picking phantom hairs out of my mouth whenever they were on screen.
This movie is not for everyone and is not a zany romp. The Wild Boys is challenging and intense and will have you asking “what in the absolute f*ck?!” over and over.
If that sounds like your cup of tea, you won’t be disappointed.
10. Suspiria (2018)
Dario Argento’s 1977 Suspiria is a cult classic brimming with bright colors, electric visual style, and rad as hell score. So naturally, the director of the poetic gay coming-of-age love story Call Me By Your Name, Luca Guadagnino, would helm the remake.
The openly gay filmmaker took a big risk remaking Argento’s magnum opus, but did it pay off?
In terms of box office earnings, no.
Which is a shame because 2018’s Suspiria is astounding. Some would argue it tops the original.
Suspiria tells the story of The Markos Dance Company, new student Susie Bannion, and the witches who run the school.
Set in West Berlin in 1977, Guadagnino strips down the over-the-top colors and Goblin soundtrack in favor of a bleak and grounded setting with Radiohead’s Thom Yorke bringing the music.
Dakota Johnson steps into Susie Bannion’s shoes as an inexperienced but gifted dancer. Raised in America by a Mennonite family, Susie always dreamed of joining the prestigious Markos Dance Company. Her audition catches the interest of Madame Blanc, one of three roles Tilda Swinton fills.
Blanc and Susie quickly become close as Susie rises through the ranks, earning the lead position in the company’s performance of Volk.
Outside of the school, therapist Dr. Josef Klemperer is investigating the dance company. A patient of his was a student there and disappeared shortly after telling Klemperer about the witches.
The 2018 version of Suspiria grapples with ideas of power and what becomes of those who wield it. Rife with haunting imagery and beautiful dancing, the film radiates powerful feminine energy.
Speaking of radiating, the sexual tension between Blanc and Bannion is so thick you could cut it with a knife.
The two almost instantly become intimate through their discussion of Susie’s audition and how her body felt. Both of them hold lingering glances at each other, sensing a companion in one another.
The chemistry is incredible when compared to Susie and Klemperer’s interaction. Klemperer is a small, elderly Holocaust survivor with a high voice… and is also played by Tilda Swinton. Honestly, if no one was told Swinton was under the makeup, they’d never guess it.
The witches in this film are terrifying. Looking at them laugh and chat in a cafe, they seem perfectly normal. During their revelry, however, they are communicating telepathically about their plans to bring Mother Suspiriorum and kill whoever gets in their way.
In a scene that can only be described as “gnarly”, one student, Olga, threatens to flee the company and expose them. Susie has just arrived to begin her audition, while Olga is trapped alone in a nearby studio.
Susie’s passionate and animalistic performance is juxtaposed with Olga being flung around the room by an invisible force, her bones bending and breaking as she becomes a human pretzel.
The climax of Suspiria is bonkers and needs to be seen to be believed. If you’re a fan of the original and haven’t seen this version because remakes are usually the same movie with modern effects, rest assured Guadagnino’s take is vastly different.
If you haven’t seen either, then you’re due for a double feature.
