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BOOM!
A burst of thunder wakes you from your slumber. Outside, an incessant storm reigns with terror. You hear a sudden thud.
What was that?
You could have sworn you heard someone. Or something.
Through the occasional lightning strikes illuminating your chamber, you locate matches to light a candle. You tiptoe out of bed and toward the door. As you creep down the winding stairs, candlestick in hand, you feel an overwhelming sense of dread.
Crrreeeeaaaaakkkkk.
There it is again! The sound is getting louder or, perhaps, closer.
Whoooosh!
A sudden gust of wind blows out your flame. You see a figure creeping toward you in the darkness. You struggle in vain to find the steps back upward and trip. The creature lurks closer still.
AHHHHHH!!!
You get the picture.
From cobwebs to candelabras, the gothic genre has distinctive traits everyone can recognize. Beginning in early literature and now brought to life in the movies, gothic tales have made an irreversible dent in our popular culture. Everybody knows vampires can’t see themselves in the mirror. Who hasn’t shouted, “It’s alive!” at least once? Iconic supernatural stories are once again getting their flowers from a new wave of gothic genre films.
In the late 18th century, gothic fiction not only bloomed as a genre, but budded many other subgenres that remain popular. Hallmarks of a classic gothic story include a hero at odds with a frequently-supernatural evil force, against a stark, oppressive backdrop. The Victorian Era defined the genre, birthing titles including “Frankenstein,” “Wuthering Heights,” and “Dracula.” Despite its aestheticized image in our media, gothic horror is more than just mere entertainment. Whether through metaphor or direct reference, these works and others offered commentary on contemporary issues regarding race, gender, sexuality, religion and social class.
Gothic fiction reached into the next century with cinema’s rise. Films like “Dracula” (1931) cultivated the modern image of the vampire. In doing so, they beckoned back to their literary forebearers with an emphasis on violence and sexuality previously unseen by audiences. With the development of production companies like Hammer Films, established in 1934, those elements became so significant that gothic cinema wound up every bit as controversial as its literary sibling.
A reoccurring feature in gothic media is what I like to call “the other.” Each work contains a key character who is an outsider to the world they enter. Through this idea, authors could criticize — or, in some cases, promote — existing social structures. Emily Brontë’s Heathcliff, while not portrayed as such in Emerald Fennell’s 2026 adaptation, is likely a person of color brought up in an ostracizing late 18th century England. Stoker’s Dracula is an Eastern European vampire seeking to spread his vampirism to Victorian London, embodying fears of Western culture, like reverse colonialism and homosexuality. Shelley’s creature, Frankenstein, is turned into a monster through societal rejection.
Due to these political themes, it is important we keep this genre undead. After all, there is no time like the present to address such topics, given our 24-7 access to devastating current events via our screens. Fortunately, gothic genre films have seen a new revival over the last couple of years. That is certainly no coincidence.
Robert Egger’s 2024 remake of “Nosferatu” pays homage to German expressionism, which expressed the anxieties of a troubled, war-torn society. Through costumes, makeup and the accent donned by lead actor Bill Skarsgård, the film clearly references Eastern European culture. In doing so, it explores the themes of xenophobia expressed in Stoker’s novel.
Guillermo del Toro examines Mary Shelley’s “Frankenstein” in his remake through the lens of a Latino immigrant as the creature desperately searches for belonging in an unjust society. Utilizing Mexican Catholic aesthetics, del Toro brings his own heritage and experiences to bear in the typically Eurocentric gothic horror scene. With Trump’s clampdown on immigration, the timing of the film’s release is more pertinent than ever. In January, the filmmaker announced an extended cut of the 2025 film, saying, “Horror is political.”
Maggie Gyllenhaal put own spin on Shelley’s narrative from a feminist perspective with “The Bride!” released this past week. Based on “The Bride of Frankenstein,” Gyllenhaal’s film takes place in the 1930s and follows Ida, who is brought back to life after the mafia murdered her. As she and Frankenstein run from the law, Ida stitches her memory together again to expose the mob for their extreme violence against the women within their circle. This film’s release comes after the Department of Justice disclosed alleged violent acts against young women and girls committed by high-profile celebrities in connection with Jeffrey Epstein, tying together horror elements with themes of victim advocacy.
Also set in the ‘30s United States is Ryan Coogler’s “Sinners.” Following two brothers returning to their hometown in Jim-Crow era Mississippi to open a juke joint, the film explores themes of racism, colonialism and black culture as a mob of vampires thwart the brothers' plans. Unique from the above films, this one is part of the Southern Gothic subgenre. This subgenre places traditional gothic elements in an oppressive American South. It is inherently and extremely political, tackling themes of racism, sexism, queerphobia and religious trauma.
Fortunately, gothic cinema is not only trending but making an unconventional splash at the Oscars. While the Academy has historically snubbed horror,, this year’s nominees for best picture include both “Sinners” and “Frankenstein.” Their presence at the Oscars shows is not a B-movie genre, but something audiences can gain meaning from. When we’re constantly learning about events like ICE raids, the Epstein files and genocide, it’s tempting to dismiss these films as silly “monster movies.” But given the genre’s rich history of societal critique, it’s one of the best ways for filmmakers to connect to the world we live in.
Because, well, horror is political.
Emma Howard (she/her) is a sophomore studying journalism.
