- Horror Movie - Horror Homeroom

Posted on October 15, 2026

Tatiana Schlote-Bonne’s What Feeds Below – Gory, Uncomfortable and Enthralling Body Horror

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Jenna LaBollita

Tatiana Schlote-Bonne’s What Feeds Below is thrilling, imaginative, and absolutely disgusting. I mean that last part as a compliment. Its horror is gory, detailed, and deeply uncomfortable, yet despite the strangeness of its premise and the extremity of some of its imagery, the novel never feels inaccessible. Schlote-Bonne gives readers a narrator whose voice feels familiar enough to ground an extraordinary world, making its horrors feel uncomfortably close.

Petra is an orphan approaching the age when she will have to leave the orphanage that has been her home. Her plan for what comes next is ambitious: she wants to open a clinic using medicinal plants, and doing so requires money. Petra earns that money by diving into the Void, a dangerous environment composed of different levels, each inhabited by its own species of plants and creatures. Some plants are medicinal, while others are carnivorous, venomous, or poisonous. The deeper Petra goes, the greater the danger – and the greater the potential reward.

Posted on September 30, 2026

When Being Good Isn’t Enough: Capitalism, BioPower, and Monstrosity in Zach Cregger’s Resident Evil

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Diana Cedeño, PhD

I’ve always thought that what makes a good horror movie is the feeling it leaves you with after it ends. That feeling doesn’t have to be fear; what matters is that something stays with you. But that response also depends on your connection to the film and the expectations you bring to it. Those expectations were especially relevant when I watched Zach Cregger’s Resident Evil (2026). As a fan of the games, I came with an open mind. I knew Leon S. Kennedy, Ada Wong, or even Alice weren’t in it, so I was prepared for a different story. By the end, though, I found myself drawn to its protagonist’s ordinary concerns: earning extra money (and in this economy?), getting the job done, and trying to help. That connection made his eventual transformation particularly unsettling. Before his transformation, Bryan (Austin Abrams) is a medical courier trying to get through a difficult assignment. His circumstances become increasingly grotesque, but there is something familiar about his initial predicament: he has work to finish and personal concerns that cannot simply be put aside.

Posted on August 5, 2026

The Unknown’s (2026) Horror of Depersonalization and the Metamorphosis of Schizophrenia

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Kit Neikirk

The anticipated next film from Anatomy of a Fall (2023) co-writer Arthur Harari, The Unknown (French: L’Inconnue, 2026), bills itself as a body-swap horror. In it, after a brief sexual encounter beneath a subdued club light, a lonely and slightly off-putting Parisian street photographer, David Zimmerman (Niels Schneider), swaps bodies with an unknown woman (Léa Seydoux) he sleeps with. This concept has been thoroughly explored – from the body horror characteristic of Brandon Cronenberg’s Possessor (2020) to the racial allegory of Jordan Peele’s Get Out (2017). In this genre, the concept of body swapping is generally contextualized as desirable and steeped in class politics; in Possessor, the bodies of the poor are colonized by the wealthy, used as corporate property that undergoes swapping. Get Out, meanwhile, uses body swapping to embody the simultaneous White fetishization and otherization of the Black body. This is not to mention the long-standing comedic potential of this genre, spanning from 2003’s family comedy Freaky Friday to the explicitly Scream-inspired comedy-horror Freaky (2020). Meanwhile, contemporary reimagining of the body-swap genre is ripe with trans-gender interpretations, best exemplified by Jane Schoenbrun’s I Saw the TV Glow (2024), wherein the body swap is intertwined with the transposing of oneself onto fandoms and alternative realities as an escape from gender dysphoria.

Posted on July 4, 2026

The Horrors of Wellness Culture in Ling Ling Huang’s Natural Beauty

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Henriikka Koivisto

Ling Ling Huang’s satirical horror novel Natural Beauty (2023) tells the story of a young, unnamed narrator who gives up a promising career as a classical pianist after her parents are injured in a car accident. One day, an extraordinarily beautiful woman shows up at the restaurant where the narrator works and offers her a job at a high-end wellness and beauty company called Holistik. What at first seems like a dream job for many young women—with better pay, an endless supply of free skincare products and treatments, and a boost of social status—soon turns dangerous. Huang leads her readers into the deeply disturbing world of invasive and risky beauty procedures, unapologetic cultural appropriation, abuses of power culminating in sexual violence, all behind a façade of wellness and self-care.

Posted on June 12, 2026

AI horror in The Backrooms

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Ian Haig

Kane Parsons’ The Backrooms emerged on the internet. The creepy pasta backstory of the film is well known: like a piece of haunted media within the network, it began as a mysterious still image posted on 4chan, and later a short film on YouTube with over 60 million views, and now a Hollywood movie. What’s striking about the recent film, The Backrooms, is the way viral marketing has spread across the internet, the algorithm suggesting more and yet more stories, interviews with cast and characters and various analyses of the film, amplifying the idea of the film being a product born out of the internet and the algorithmic culture of social media from where it originally emerged.