This article may contain spoilers. While it’s a well-known fact that queer characters are fodder for horrific cinematic deaths, in some cases, out and coded villains are too conniving to be killed off. For decades, sexually fluid women — in the forms of femme fatales, succubi and outright psychopaths — have stalked their prey in genre films that underscore how untrustworthy women who seek the company of other women can be.
” While films that employ the murderous sapphic trope often use a treacherous love triangle to communicate the lack of agency that Reeder alluded to, in some cases, it’s what the women do to perfect strangers that makes them monstrous. Wes Craven’s 1972 exploitation film, “The Last House on the Left,” for example, depicts a psychopathic foursome who abduct two teenage girls after one of their members expresses her desire for female company.
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