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Haven't you heard? It's the Summer of Sleaze. While sleazecore might be taking over the fashion world, it's hardly been a new thing when it comes to cinema. What's more sleazy than an erotic film, one that pushes the boundaries of desire and sexual taboos?
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Sex and death go together like bacon and eggs. Horror is sexy because the proximity to death fires up the urge to procreate, the wires often get crossed, and canny creators know to push those adjacent buttons hard. Enter horror pioneer James Whale who, like many other LGBTQI filmmakers then and now, worked hard to smuggle a surfeit of queer content into the fleapits right under the nose of the censors. It was pretty heady stuff — being chopped into offcuts by Jason or Michael Myers was one thing, but the mind fairly reeled at what pinhead and his fellow, ah, 'sophisticates' might do to you with all those chains and hooks and needles, their pale flesh gleaming through the rents in their bondage suits. While Hellraiser highlighted the risks of going too far in the quest for prurient pleasure, It Follows takes up the puritanical tradition of American horror in punishing anyone who dares do the naughty. Like the supernatural serial killers of old, the invisible demon in It Follows stalks and kills pretty young people who have dared to have sex, effectively behaving like a kind of unholy STD. Cunningham Friday the 13th trod back in the day. No, to get really transgressive, more often than not we need to outside of Anglophone cinema and head into the wilds of Europe, where filmmakers really know how to let their freak flag fly. Even the well-worn vampire sub-genre has been injected with new blood at the hands of European auteurs in recent years. In his film We Are the Night , German director Dennis Gansel takes the modern vampire tale in a new direction by inducting newborn bloodsucker Lena Karoline Herfurth not just into the ranks of the undead, but into an all-female society that both rejects and preys upon the patriarchal world that victimised them.