queerfinalboy

[queerfinalboy]

Jodie Foster, Ted Levine, and Brook Smith on set of "The Silence of the Lambs" (1991) in 1990

[queerfinalboy]

them

[queerfinalboy]

I am hungry

I have been hungry

I was born hungry

What do I need?

Prints available here

CW: blood

(ID:

image 1: a still life of Communion, golden chalices with red liquid, a candlestick, cloth, and a small dish.

image 2: a grassy field in pitch black, a spot light illuminating a herd of sheep with glowing, reflective eyes, and the legs of a man standing among the sheep, his eyes are also glowing.

image 3: The door way of a church with the doors open revealing a forest at night, and bloody handprints on the walls.

end ID)

[queerfinalboy]

Midnight Mass Book IV: Lamentations

[queerfinalboy]

did you see the new Sadako/Onryo skin? such a pretty spider lily girl. reminds me a bit of Silent Hill F trailer as well.

It’s sooo pretty! She looks like she’s ready for prom����

It’s also terrifying when you see her face. Really intimidating. Overall, a very nice skin 👍

[queerfinalboy]

horror ladies

[queerfinalboy]

heavy...

[queerfinalboy]

Just watched both versions of The Ring.

[queerfinalboy]

When you start opening up to people

[queerfinalboy]

Creepshow’s Innovative use of lighting to create a horror comic book effect was a brilliant idea. 

[queerfinalboy]

anonymous requested:

MODER in THE RITUAL 2017 | dir. David Bruckner

[queerfinalboy]

Look at you bawl, why you crying to me?  Same song and dance.

[queerfinalboy]

videodrome (1983) the substance (2024)

[queerfinalboy]

It looks like the lock is broken. I can't open it.

textless version and original sketch:

[queerfinalboy]

send me a ☕️ and a topic and i’ll talk about how i feel about it

[queerfinalboy]

There’s hardly a frame of Argento’s Suspiria that doesn’t feature at least a glimmer of red somewhere. The walls of the demented ballet school that serves as the film’s nightmarish setting are blood red, both inside and out. When the walls aren’t red, the backlighting is, frequently casting a red glare over everything. The lipstick on the pale faces of Suspiria’s unwary ballerinas, and their nail polish, is red. And when the horror comes, it’s sumptuously, terrifyingly red as well. […] Argento’s Suspiria put red everywhere, right from the jump, because the evil within the dance school was everywhere — and so was the bright red creative passion that fueled said evil. The film’s emphasis on color made death dazzling; it transformed its witches’ gleeful bloodlust into a sensory-overloading, overwhelming breed of terror.

SUSPIRIA (1977) — Directed by Dario Argento