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The Dead Thing

Starring: Blu Hunt, Ben Smith-Petersen, Katherine Hughes

US Premiere

Alex (Blu Hunt, The New Mutants) is ready to give up on finding love, due to an endless string of meaningless sex, when she hooks up with the charming Kyle. The next morning, though, he’s gone. As she tries to reconnect with him, Alex discovers that Kyle isn’t like other guys-he’s something much more dangerous. With this directorial debut, podcast all-star Elric Kane (co-host of Pure Cinema and FANGORIA’s All the Colors of the Dark) envelops a haunting story of loneliness and yearning within an air of ethereal unease and supernatural mystery. -Matt Barone

Miskatonic Institute of Horror Studies

As any vampire scholar, and most vampire fans, will tell you, the figure of the vampire is inherently queer. John Polidori based Lord Ruthven (“The Vampyre,” 1818) on the indiscriminately licentious Lord Byron; J. Sheridan Le Fanu’s Carmilla (“Carmilla,” 1872) still dominates the lesbian vampire genre; and Bram Stoker’s Dracula (Dracula, 1897) tells his three brides that Jonathan Harker “is mine.” Their non-normative reproduction, the pleasure that they take in penetration and feasting, their seduction of victims into voluntary acquiescence, and their capes and ruffles and air of languid dissipation…vampires are queer. But so what?

This lecture will first establish cinematic vampires as almost universally queer-coded and explore the significance of this specific intersection of monstrosity and sexuality. The talk will then explore the alignment of vampire cinema with the queer liberation movement of the 1960s-70s, covering films such as Hammer’s Karnstein trilogy (The Vampire Lovers [1970], Lust for a Vampire [1971], and Twins of Evil [1971]) and its much gayer spiritual relatives including Daughters of Darkness (1971), The Blood Spattered Bride (1972), and Vampyres (1974), as well as recent titles like Bit (2019), Thirst (2020), and So Vam (2021).

Through the work of queer theorists including Lee Edelman, Jack Halberstam, and José Esteban Muñoz the lecture will explore the ways that vampires can contribute to discourses around queer identity, modes of being, and futurity.

Grafted

North American Premiere

Still reeling from her scientist father’s death years earlier, college student Wei is determined to finish his work with facial disfigurement and skin disease. Her efforts coincide with also trying to assimilate into her popular cousin’s Mean-Girls-esque group of friends. How all of that dovetails together in Kiwi filmmaker Sasha Rainbow’s playful and vibrant debut brings a new dimension to the body horror film canon in her wildly entertaining and gruesome first feature. -Matt Barone

Dracula (Live Score)

Shot on the same sets as Tod Browning’s Dracula and released in the same year, Universal’s Spanish-language take on Bram Stoker’s novel is, in some circles, considered to be the superior film. Carlos Villara­as gives Bela Lugosi a run for his money as the iconic bloodsucker in a Stoker adaptation that’s more sexually charged than its English-language counterpart. Join Brooklyn Horror for a special screening of this largely overlooked film featuring a live score from BHFF mainstays The Flushing Remonstrance. -Matt Barone

Black Eyed Susan

Starring: Damian Maffei, Yvonne Emilie Thälker, Marc Romeo, Scott Fowler, Kate Kiddo

NYC Premiere

A man is hired by an AI company to test out their prototype for a BDSM sex doll that bleeds and bruises just like a human. As he spends more time with the doll he is forced to reckon with his own morality and the ethical implications of this technology. Scooter McCrae crafts a complicated story in which tone and theme often clash. This is sure to lead to some fascinating discussions for those who see it. – Tori Potenza

Dead Talents Society

Starring: Bo-Lin Chen, Sandrine Pinna, Gingle Wang, Yi Ti Yao, Bai Bai, Soso Tseng

New York Premiere

After dying a mediocre death and the totem that keeps her among the living being badly damaged, a ghost will have to step her haunting game up in order to avoid getting kicked out of the underworld. To compete with all the top ghosts she joins a small haunting talent agency, literally the only one that would give her a shot. Together with her agent and his only successful client, the legendary but washed-up ghost diva Catherine, she sets out to become the scariest urban legend of them all. John Hsu (2020 Brooklyn Horror selection DETENTION) presents a wonderfully clever fully realized world, filled to the brim with boundless wit and magic. -Joseph Hernandez

Nightmare Fuel

Sleep no more after witnessing the terror on display in this chilling block of purely scary horror, complete with Ouija board mishaps, techie ghouls, and cult rituals gone awry.

Dream Creep, dir. Carlos A.F. Lopez (USA); Pop, dir. Josh Jones (USA); Agonist, dir. Annie Marie Elliot (USA); Cease to Exist, dir. Taylor Nodrick (Canada); The Awakening, dir. Al Campbell (UK); Taboo, dir. Almog Avidan Antonir (USA); Inked, dir. Kelsey Bollig (USA); Mr. Static, dir. Mike Williamson (USA); Transylvanie, dir. Rodrigue Huart (France)

Habit

Starring: Larry Fessenden

Autumn in New York. Sam has broken up with his girlfriend and his father has recently died. World-weary and sloppy drunk, he finds temporary solace in the arms of Anna, a mysterious woman who draws him away from his friends and into a web of addiction and madness.

Larry Fessenden’s seminal New York vampire film was nominated for 2 Spirit Awards and winner of the Someone to Watch Award.

Timestalker

New York Premiere

One woman, one man, many lifetimes, lots of beheadings. Alice Lowe (Prevenge) gives us a hilarious and violent, fantastical, multi-period piece in her sophomore feature, Timestalker. It’s a thrilling tale of misplaced affection, unrequited lust and revenge as it spans centuries of Agnes (played by Lowe) repeatedly making the same mistake: falling for the same man throughout time and then dying. As her reincarnations evolve, from 1688 Scotland to 1980s England, the love of her lives is always just out of reach until she realizes that maybe she doesn’t need that man at all. A true relatable horror. -Caryn Coleman

The Last Sacrifice

East Coast Premiere

On Valentine’s Day of 1945, English farmer Charles Walton was found brutally murdered on the outskirts of his property, triggering a decades-long investigation with ties to witchcraft, vampirism and the occult. Fascinating the entire country of England, the enigmatic homicide inspired classic films like The Wicker Man and, more generally, the rise of British folk horror. Through talking-heads insight and a surplus of film clips, Rupert Russell examines Walton’s death as both a true crime puzzle box and the catalyst for some of the England’s best and most influential horror films. -Matt Barone