Horror has deep roots in the queer experience, all the way back to the 1930s and movies like Frankenstein and Dracula, in which the “monsters” became metaphors for outsiders and other-ness, creatures who can’t help the way they are. Now, in the modern era, horror “speaks” to LGBTQ viewers in multiple ways as victims of a society that often rejects them, treats them as freakish abominations and even tries to change their sexual orientation to align with conservative religious edicts.
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But the tortuous “conversion” has horrifying consequences, as Niam and Ryan each become stalked and victimized by something only visible to them, something that takes the form of what they each want most in the world—each other. And it’s trying to kill them.
Leviticus is rich in symbolism and allegory, like when Niam and Ryan watch a snake devouring a rat, in a scene that opens with an antelope skull perched on a fence post beneath a field of buzzing transmission towers. That imagery sets up the story about a dreary, hopeless world that wants to destroy them, one whirring with hate and loathing. And the many shots of their drab, decaying little town—with abandoned sweatshops and factory smokestacks belching into the sky—suggest that the piety of their community church, in the shadow of shabby modernity, is similarly outdated and noxious.
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Repeated scenes of the boys throwing rocks at each other, a macho exercise in who can stand the most pain, is a reminder of the abuse that homosexuals still face around the world, where same-sex activity can be punishable by death.
Leviticus takes a Bible verse, guts it and spins it into a resonant, richly relevant tale of forbidden love—and a crushing indictment of weaponizing some harsh ancient words against anyone following what their hearts truly want.
Rated R
Expected to arrive on streaming services in 45 to 60 days.
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