Dating back to the 1930s – earlier, even – horror cinema has been socially and politically conscious, interrogating taboos around gender, sex, class and race along with the borders between states like pro- and anti-social.
But it’s only been in the last 10 years or so that horror films – a booming genre following the success of Midsommar (2019) and Get Out (2017) – have started privileging telling rather than showing, didactically explaining themselves to the viewer as though we haven’t always already gotten it.
