Abstract
This chapter examines how post-horror films often use sublime wilderness settings to emphasize a sparseness that operates in conjunction with the films’ own stylistic minimalism. Calling these films “spaced out” describes not only their literal locations, but also the films’ generic distance from the larger horror genre and the contemplative mood that each one encourages. Whereas Under the Skin uses landscape to chart the evolution of a predatory female character, witchcraft-themed films like The Witch, Hagazussa: A Heathen’s Curse, and Gretel & Hansel depict forests as spaces where young women’s reproductive generativity threatens patriarchal power. Meanwhile, It Comes at Night and A Quiet Place depict men’s paranoid “bunker mentality” against perceived or actual threats, and The Lighthouse uses repressed queer desire to explore post-horror’s larger relationship to non-reproductive realms of nature.
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