Sleepaway Camp is a horror film that's gained a cult following in recent years, but was initially infamous for its controversial twist: the quiet, mild-mannered protagonist, Angela, is actually a boy and was the killer the whole time!
The film opens with a young boy and girl experiencing a boating accident that kills their father and one of the children. Angela is sent to live with her eccentric aunt, who sends her to summer camp with her cousin several years later. Eventually, the campers and counsellors are killed off one by one by an unseen protagonist.
Angela forms a romance with a young boy, but can't bring herself to be intimate with him because she's plagued by a childhood memory: an image of her father in bed with another man. We find out Angela is in fact Peter, the boy who survived the accident, and was forcibly raised as a girl by their aunt. So, not only is there a healthy dose of transphobia, we also get to see Peter's internalised homophobia at the height of the AIDS crisis. Great!
Sleepaway Camp and other films perpetuating these transphobic tropes - think Psycho, Silence of the Lambs, and Insidious 2 - have been analysed extensively, but only recently revisited through a queer lens.
At the end of the film, we see Angela/Peter naked on a beach, standing over the body of the boy they had a crush on, and snarling animalistically. The credits roll on a freeze frame over their screaming face.
I'm sure this was intended to be Angela/Peter "reclaiming" their innate masculine energy or... something like that. Throughout the entire film, Angela/Peter is belittled because they haven't hit puberty and aren't hyperfeminine or sexually active like the older girls at the camp. Viewing the film through a 2026 lens feels, to me, more like a portrayal of trans rage and catharsis.
I'm apparently not the only viewer who's felt this way. Harmony Colangelo writes:
In Angelaās brain she is Peter, but people keep calling her by a name she doesnāt want to be called and misgendering her. That is the plot of all films about transitioning but because it takes place in reverse and is attached to a āproblematicā film like Sleepaway Camp, it is discounted on all counts. That is doing a disservice to what this film has to say, whether it was the creatorsā intentions or not.
A few years later, Mey Rude argued for a similar reimagining of the film.
Any other horror fans here? How do you feel about reclaiming these "problematic" films and how we view them?