From peplum to slasher, over the martial arts films from the Shaw Brothers: there's a homosexual undertone in many camp films. At the time of release, the public didn't notice anything, but the hidden meanings became clearer over time as the morals evolved. This is definitely the case with Jack Sholder's “A Nightmare on Elmstreet Part 2: Freddy's Revenge”, the sequel to Wes Craven's classic. Compared to the original, the film appears to be a mere shadow of its precursor, but thanks to the homosexual subtext, it has become a cult hit over time. Freddy's symbolism became more refined, while the undertone also made the hero more complex, including his relationship with his body and sexuality. The result is a film about coming out of the closet gore style that has put its mark on horror movie history.
Alexandre Aja's “Haute Tension”, on the other hand, doesn't contain an ounce of subtext: Marie's desire for Alex is presented to us full-frontal. It namely takes on an ultra-violent and bloody form (particularly the special effects by Giannetto “Zombi 2” De Rossi) and sets in motion a new wave of French horror films such as “A l'intérieur” and “Martyrs”.
When Jesse moves into the house where Freddy Krueger caused mayhem in the first film of the series, Krueger starts to haunt his dreams. Is Jesse possessed by the spirit of this horrible boogeyman?