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Metaphors in horror films are nothing new. In fact you can say they can pretty much go hand in hand. Sometimes its overbearing, other times greatly needed. But above all they appear so often in horror films because at the end of the day our greatest fears are meant to be worked against us and using monsters in replace of them makes it go down easier. LEVITICUS the feature length directorial debut from Australian filmmaker Adrian Chiarella is the rare first outing that gets to have its metaphorical terrifying cake and eat it too. A film that knows that our own self can be our greatest fears and forms a terrifying entity that uses our deepest desires against us. This is easy to imagine in a world where people hate those that long to escape “normality” in a time of persecution and hatred (something growing stronger in today’s world). LEVITICUS also proudly knows that the horror genre is and has always been queer. A genre brought up by those deemed immoral by overbearing religious societies, but LEVITICUS doesn’t want to be another tragic queer love story rooted in horror. Instead it chooses to be one that uses horror to show how truthful queer love can be, as well as determined. But before the love unfortunately comes the hate, but fortunately for audiences LEVITICUS uses a hateful mind to create an intense and never ending nightmare you cannot look away from.

For young Naim (Joe Bird) a new town is scary enough, but with the possibility of a new friend in Ryan (Stacy Clausen) everything can be terrifying. What starts as a confusing encounter (Naim can’t believe someone who taunts him in school now wants to hang) morphs into an endearing romance. A romance that could have easily been accepted as young love if it wasn’t for the town’s dominating religious community. Run by a controlling pastor who has easily won over Naim’s mother (Mia Wasikowska) the two boys must carry on in secret which doesn’t last long. From the start Chiarella shoots LEVITICUS with an uncomfortable and striking balance of beauty and fear. The town in the outlands is also smacked down right in the middle of industrial power plants. Its flames and smog covering anything beautiful. Naim and Ryan’s intimate moments having to mostly consist of hiding out in abandon and broken down warehouses while even the quiet peaceful homes of the town are nestled in decaying landscape due to the pollution. All this overarching environmental torment feels nauseating once the boys are outed and confronted with a strange conversion-therapy ritual involving a mysterious religious outsider that doesn’t just cast out their “demons” but might have replaced it with something truly sinister.

Australian horror films have seen a great rise in recent years whether it be the Philippou brothers’ breakout hits “Talk to Me” and “Bring Her Back” or indie festival darlings such as “Relic” or “Birdeater.” Those familiar with those films or other recent ones knows that Aussies do not hold back. LEVITICUS’ uses its highly engaging and unique premise to create a film where fear of oneself and those dearest evokes both body horror and straight up horrifying jump scares. In a time in horror where jump scares are seen as laughable and a thing of the past Chiarella and his editing team create a patient film that in its ability to withhold creates an anxiety ridden audience holding their breath scared not of what will be around the corner but rather right in front of their face. A film that in its withholding finds everything pouring out once it can longer keep it inside. A remarkable feat for both its editing and script.

As Niam and Ryan battle their newly created demons the film’s love story only grows stronger even if it is in ways that may appear tragic. LEVITICUS humorously (if you can find the small, wonderful bits of humor in an otherwise dark film) takes the concept of can’t live with him can’t live without him to a whole new level. Bird who already made himself unforgettable with some horrifying scene stealing in “Talk to Me” has grown immensely in both appearance and talent as he is able to hold onto the last bit of innocence of a young queer boy all while fighting back on the idea that everyone else sees his desires as evil. A religious community fighting back against queer love of just livelihood is nothing new but LEVITICUS uses the notion of hating yourself for who you are as its biggest devil. Naim and Ryan may know their community is wrong but when all their love has led to death and torture it begins to make them beg the question so many queer people have unfortunately faced. “How can I live this life if it is all pain.” A truly upsetting notion that the film brilliantly manages to make its biggest monster.

Even when LEVITICUS finds itself in a truly scary final act that is as exciting as any monster in the house film, Chiarella always directs his script with an ease that there is love centered at this story. It may not calm any nerves (in fact quite the opposite) but it does give the film something worth fighting for. LEVITICUS wants its characters to be afraid of love but it also doesn’t want them to reject in in favor for religious hate or just hate in general. This isn’t to say the film finds its way to a cheerful drive into the sunset ending. No before any finale first comes mutilated body parts, nightmares and reality blending together, and any jump scares are so appropriately timed that the film’s premiere delivered one of the only times this critic saw an entire audience jump at the exact moment. But even with all that LEVITICUS leaves you with a warm feeling by the end, it is just hard to decipher if it is your heart full of love or anxiety rushing through you.

A-

LEVITICUS HAD ITS WORLD PREMIERED AT THE 2026 SUNDANCE FILM FESTIVAL IN THE MIDNIGHT SECTION. IT IS CURRENTLY SEEKING DISTRIBUTION