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Many academically minded types have written at great length and with fascinating eloquence on the connection between sex and death in horror movies. We'll cut right to the chase, offering up some of the best and most potent examples of sexuality in the horror-movie genre.

But first, a disclaimer: These are horror movies, spanning decades, and, thus, don't always, or often, offer up the healthiest representations of human sexuality. Whether it's vampire eroticism or horny teen campers, sex in movies is complicated, and not always sex-positive, even as we're being invited to be aroused.

Some of these movies have deep and complex, if often uncomfortable, things to say about the links between sex and death; others are pure titillation—movies that throw in some nude bodies and sweaty, writhing flesh in order to get more butts in seats. We're not here to make a distinction between high-minded horniness and baser sexual impulses—if it's sexy, it's under consideration...

• Don't Look Now (1973)
• Knife + Heart (2018)
• Mulholland Drive (2001)
• The Hunger (1983)
• Def by Temptation (1990)
• Species (1995)
• Society (1989)
• Cat People (1982)
• Bram Stoker's Dracula (1992)
• Knock Knock (2015)
• Stranger by the Lake (2013)
• Daughters of Darkness (1971)
• Interview With the Vampire (1994)
• Titane (2021)
• Hatchet II (2010)
• Nadja (1994)
• Swallowed (2022)
• Thirst (2009)
• Possession (1981)
• An American Werewolf in London (1981)
• Wrong Turn 6: Last Resort (2014)

Occasionally, an indie film slips through the mainstream and becomes a hit. It's easiest to do in the horror genre, where a low budget doesn't keep fans away (the recent Terrifier franchise is a great example of this, but it goes back to Night of the Living Dead, Carnival of Souls, and many earlier films). In 2023, Older Gods became one of the crossover hits, a microbudget horror movie with a trailer that garnered over 500 thousand views on YouTube (watch the trailer below). Using thick layers of atmosphere and drawing on the terrifying lore from H.P. Lovecraft's body of work, Older Gods managed to create a spellbinding horror mystery with very little money. Now it's streaming for free...

"Older Gods is filled with enough passion to not only look past its small budget, but to offer a more personal horror film with a surprisingly large scale. Older Gods is perhaps one of the best horror movies so far this year, certainly in the Lovecraftian horror genre. It offers a deeply compelling mystery, an undeniably tense atmosphere, satisfying jump scares, and plenty of creepy visuals. If you're a fan of horror and Lovecraft in particular, Only Gods is the movie for you."

"One of Older Gods' major achievements is its haunting atmosphere," continues MovieWeb's review. "From the location, music, cinematography, and pacing, Older Gods is a tense and haunting movie the whole way through. It never eases up; thank God it was only 80 minutes, because it'd almost become oppressive if it was any longer. Filmmaker David A. Roberts does a wonderful job at expressing isolation and anxiety throughout"...

Several end-to-end encrypted (E2EE) cloud storage platforms are vulnerable to a set of security issues that could expose user data to malicious actors.

Cryptographic analysis from ETH Zurich researchers Jonas Hofmann and Kien Tuong Turong revealed issue with Sync, pCloud, Icedrive, Seafile, and Tresorit services, collectively used by more than 22 million people.

The analysis was based on the threat model of an attacker controlling a malicious server that can read, modify, and inject data at will, which is realistic for nation-state actors and sophisticated hackers.

The team comments that many of the discovered flaws directly oppose the marketing promises of the platforms, which create a deceptive and false premise for customers...

Despite rarely gaining accolades and praise from contemporary and mainstream film critics, Lucio Fulci is a name that needs little introduction among horror fans and aficionados of cult European cinema. Known for creating images of excessive violence that earned him the nickname the "godfather of gore," Lucio Fulci spent much of his career pushing the envelope and, in many cases, tearing it completely to shreds.

Among the best-known contributions from the director is his Gates of Hell trilogy, consisting of The Beyond, City of the Living Dead, and The House by the Cemetery. All three took place in the United States and explored some of the horror traditions associated with their accompanying areas. Set in New Orleans, The Beyond embraces the Southern gothic horror tradition, and the City of the Living Dead contains a subtle nod to H.P. Lovecraft, with the film taking place in the town of Dunwich.

The House by the Cemetery, with its exterior shots being filmed in Scituate, Massachusetts, and the film taking place in and around Boston, makes full use of its location to weave a New England horror story influenced by H.P. Lovecraft's writings. The House by the Cemetery, while featuring many of Fulci’s trademarks that fans of his films instantly recognize, such as quick camera zooms, close-ups of eyes, and depictions of unrestrained violence, is a tale of Victorian evil that exists within the landscapes of New England...

The Folk Horror genre has become one of the most popular forms of horror in recent years, with the rise of cult and ancestral narratives pervasive throughout all horror films. Folk horror's best films are known for using elements of folklore, rituals, and ancient traditions to provide the backdrop for the thrilling and horrifying stories told that reveal the darker sides of our nature and humanity. It has become so popular as it mixes the realistic with the spiritually sinister and creates a crossover that has a feel all too real of 'this could happen to me'.

The most impactful of the folk genre throughout cinema history and into recent years have focused on cults, voodoo, paganism, and superstition. Films like the critically acclaimed Hereditary with surprise endings, which puts a legitimately terrifying, modern spin on the occult, or Midsommar, that brings violent cults and the psychological forces within to the fore. Every film places the onus on the viewer that what they are watching isn't something too far outside the realm of possibility, and that realization is what makes this genre one of the most fear-inducing horror themes and why the films themselves are so haunting...

• The Blair Witch Project (1999)
• The Blood On Satan’s Claw (1971)
• Apostle (2018)
• La Llorona (2019)
• Kill List (2011)
• Midsommar (2019)
• The Wailing (2016)
• The Wicker Man (1973)
• The Witch (2015)
• Hereditary (2018)

As international leaders, corporations and NGOs gear up to discuss efforts to tackle global warming at the upcoming United Nations Climate Change Conference (COP29) in Baku, Azerbaijan, residents in a crucial region for the climate crisis show they have very different priorities.

On Oct. 6, voters in the Amazon chose its mayors and councilors for the next four years, deciding as much about the rainforest’s future as authorities in international forums.

Many politicians who openly oppose conservationism were elected. Two of the seven Amazon states’ capitals elected candidates supported by former President Jair Bolsonaro, a climate denialist who empowered illegal miners and land-grabbers during his government from 2019-22.

“The rise of the far right is very visible in the Amazon states,” Wendell Andrade, public policy specialist for the Amazon at the Talanoa Institute, a Brazilian think tank committed to climate policy, told Mongabay...

... The centrist and right-wing parties also dominated the elections in the municipalities targeted by the federal government as a priority to control deforestation in the Amazon. Of the 70 municipalities, 69 were decided in the first round, and only two went to left-wing parties, which historically favored environmental conservation in Brazil, according to news outlet ((o)) eco.

The 2024 elections happen during the Amazon’s worst drought ever. Large rivers, like the Madeira, Amazonas, Negro and Purus, reached their lowest levels ever, isolating communities, leading to food and water shortages and damaging local economies. Fire outbreaks have burned the Amazon in Brazil and the neighboring countries. This year’s extreme drought followed another harsh dry season in 2023, which was 30 times more likely due to climate change.

“It’s a development agenda that is bringing a lot of destruction, and yet a large part of the population prefers these candidates,” Maureen Santos, coordinator of policies and alternatives in FASE, a Brazilian nonprofit that helps to promote local and community development, told Mongabay. “We need to study this phenomenon to tackle it more concretely in the next elections”...

The director of the 2018 remake of Dario Argento’s Suspiria, Oscar nominee Luca Guadagnino (Bones and All, Challengers) is in final negotiations to direct a brand new interpretation of the 1991 book American Psycho by Bret Easton Ellis for Lionsgate, we’ve learned today.

Scott Z. Burns will be scripting the new movie, which is being described as a new adaptation of Bret Easton Ellis’s aforementioned novel, rather than a remake of the 2000 movie.

The book was previously adapted by director Mary Harron from a screenplay by Harron & Guinevere Turner, with Christian Bale starring in that original (and iconic) movie adaptation.

In the tale, “A wealthy New York City investment banking executive, Patrick Bateman (played by Christian Bale in the 2000 movie), hides his alternate psychopathic ego from his co-workers and friends as he delves deeper into his violent, hedonistic fantasies.”

The new film will be produced by Frenesy Films, executive produced by Sam Pressman, son of Edward R. Pressman, producer of the first adaptation, through his company Pressman Film...

Problematic as his views are today, H.P. Lovecraft is still regarded as one of the giants of horror literature, and his stories have been finding their way to the big screen for decades. But equally interesting are the Lovecraft-adjacent works, movies clearly influenced by his vision of an indifferent universe full of monstrous entities, yet not specifically based on anything the man wrote. John Carpenter, for example, has mined this territory with films like The Thing (1982) and In the Mouth of Madness (1995), while Lovecraft Country addressed Lovecraft’s racism within the context of the cosmic horror he made famous.

One of the best films to derive inspiration from Lovecraft’s work is The Lighthouse, directed by Robert Eggers from a script by Eggers and his brother Max, and released on October 18, 2019. The siblings had discussed the idea around the time Robert was seeking funding for his stunning 2016 folk-horror debut, The Witch, with its success allowing them to finally move forward.

The Lighthouse was initially inspired by an unfinished story fragment, “The Light-House,” by that other early titan of horror and mystery, Edgar Allan Poe. Aside from the title and bleak setting, however, The Lighthouse doesn’t really have any connections to Poe’s tale. As the film opens sometime during the 1890s, two lighthouse keepers arrive on a desolate island off the coast of New England for a four-week tour of duty...

... It’s the more mythic and cosmic aspects that are overtly Lovecraftian, along with the constant stream of ichorous fluids, putrefying bodies, barely glimpsed tentacular horrors, panicked sexual tension, and allusions to gods of the sea, where many of Lovecraft’s Elder Gods slumbered. Some of these merge, as when Pattinson’s Winslow (whose real name, it turns out, is also Thomas, adding the loss of identity to the thematic morass) hallucinates himself beating Dafoe’s Thomas Wake, only for the latter to morph into the Greek sea god Proteus. And then there’s the lantern atop the lighthouse, which will likely remind horror veterans of the “unnatural light” of Lovecraft’s “The Colour Out of Space” or the “deadlights” from Stephen King’s It.

There’s a lot going on under the hood of The Lighthouse; in addition to Poe and Lovecraft, Robert Eggers has cited authors like Herman Melville and Sarah Orne Jewett, along with playwrights such as Samuel Beckett and Harold Pinter, as instrumental to the film’s flavor and mood. Yet as an original psychological horror in which reality itself is besieged by unseen forces, it remains a Lovecraftian tone poem, an oppressive yet cosmic study of madness, desire, and ancient terror that, minus the author’s more noxious tendencies, could fit easily alongside his best works.

There’s something so unique about Lovecraft. While classic horror tropes like vampires, werewolves, and psychotic serial killers all feel well within the realms of human understanding, Lovecraft’s twisted gods and grotesque monstrosities feel completely alien – comprehensible, yet incomprehensible. It’s a universe I love to see reimagined in videogames, and RailGods of Hysterra is doing just that. From the ominous shadowy Cthulhu in the key art’s background, to the weird train that sports a glowing orange eye and rows of teeth, I’ve fallen for the survival game’s universe hook, line, and sinker.

RailGods of Hysterra is described as a co-op survival game set in a Lovecraftian hellscape. You are a Dreamer, and you’ve awoken bound to your eerie RailGod – the aforementioned living locomotive. As either a five-man squad or a solo traveler, you’ll venture through nightmarish landscapes, abandoned outposts, and cult hotspots, gathering new gear in order to upgrade your RailGod.

Combat looks a little Diablo-esque, with multiple players slinging spells at a poor, unsuspecting crocodile. You’ll have to take down various terrors to fuel your RailGod (or kidnap them, whatever you prefer), helping it transform into the horrific Eldritch fortress that it’s supposed to be...

The United States’ secretive Special Operations Command is looking for companies to help create deepfake internet users so convincing that neither humans nor computers will be able to detect they are fake, according to a procurement document reviewed by The Intercept.

The plan, mentioned in a new 76-page wish list by the Department of Defense’s Joint Special Operations Command, or JSOC, outlines advanced technologies desired for country’s most elite, clandestine military efforts. “Special Operations Forces (SOF) are interested in technologies that can generate convincing online personas for use on social media platforms, social networking sites, and other online content,” the entry reads.

The document specifies that JSOC wants the ability to create online user profiles that “appear to be a unique individual that is recognizable as human but does not exist in the real world,” with each featuring “multiple expressions” and “Government Identification quality photos”...

... The Pentagon has already been caught using phony social media users to further its interests in recent years. In 2022, Meta and Twitter removed a propaganda network using faked accounts operated by U.S. Central Command, including some with profile pictures generated with methods similar to those outlined by JSOC. A 2024 Reuters investigation revealed a Special Operations Command campaign using fake social media users aimed at undermining foreign confidence in China’s Covid vaccine.

Last year, Special Operations Command, or SOCOM, expressed interest in using video “deepfakes,” a general term for synthesized audiovisual data meant to be indistinguishable from a genuine recording, for “influence operations, digital deception, communication disruption, and disinformation campaigns.”

... special operations troops “will use this capability to gather information from public online forums,” with no further explanation of how these artificial internet users will be used...

The offensive use of this technology by the U.S. would, naturally, spur its proliferation and normalize it as a tool for all governments. “What’s notable about this technology is that it is purely of a deceptive nature,” said Heidy Khlaaf, chief AI scientist at the AI Now Institute. “There are no legitimate use cases besides deception, and it is concerning to see the U.S. military lean into a use of a technology they have themselves warned against. This will only embolden other militaries or adversaries to do the same, leading to a society where it is increasingly difficult to ascertain truth from fiction and muddling the geopolitical sphere.”

Both Russia and China have been caught using deepfaked video and user avatars in their online propaganda efforts, prompting the State Department to announce an international “Framework to Counter Foreign State Information Manipulation” in January. “Foreign information manipulation and interference is a national security threat to the United States as well as to its allies and partners,” a State Department press release said. “Authoritarian governments use information manipulation to shred the fabric of free and democratic societies”...

Brian De Palma’s insouciantly horrible masterpiece from 1976, adapted from the novel by Stephen King, and mixing in tropes and tricks from Hitchcock’s Psycho, is now rereleased. This is the extraordinary exploitation shocker that also conveyed – or anyway fabricated – an impassioned sympathy for a bullied teenage girl with learning disabilities and telekinetic powers. It was a horror classic that didn’t conform to the narrative beats of the genre; it was a scary movie in which the terrifying demon was also the final girl.

Sissy Spacek gives an amazing performance as Carrie, a shy high school student and put-upon daughter of Margaret (Piper Laurie), whose fanatical religious devotion and fear of sex – and fear of Carrie having sex – stems from having been seduced and abandoned by Carrie’s now absent father many years previously. Poor, innocent Carrie still has not started her period, and when this happens in the showers after a volleyball game, she panics uncomprehendingly and the mean girls humiliate her by throwing tampons and chanting: “Plug it up!” Gym teacher Miss Collins (Betty Buckley) is outraged and – angrily smoking a cigarette and still wearing her PE shorts in the principal’s office – decides to hand out exemplary punishments to this crowd of bullies. This takes the form of a mortifying workout session which so enrages the queen-bee bully Chris (Nancy Allen) that she resolves to take a satanically wicked revenge on Carrie at the prom...