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@fallinforeveryonespheromones
homophobes will harp on the two (2) verses on Leviticus about sex between men but when you ask them about the entire chapter (25) dedicated to letting the land rest every seven years and not overworking it, freeing the indentured, returning properties sold by debtors, and supporting destitute family SUDDENLY we don't follow Levitical law anymore
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The moment the queer kid runs away from their unaccepting family is always portrayed as a big adrenaline fuelled escape, a screaming match, a hastily packed bag. Because it's only when your throat is raw and your face is wet and your parents yell and condemn that it's deserved, right? But what if it's just another day? You and your mother are having a conversation you've already had before, and you don't know why you think you can convince her. Nothing has changed between yesterday and today. She didn't listen in the hospital as a nurse wiped blood from your face and you coughed up sticky black, but now as you walk with her, twigs and bark cracking underfoot, you try again. The crowd of never-missed-a-Sunday churchgoers move around you as they comb dry bushland for the boy they faithfully watched seize on the floor. Sulphur-crested cockatoos screech above twisted eucalyptus trees. The sky is dusky-brown, polluted with lingering smoke. You talk to her, voice shaking but true, because this time, this time she'll meet your eyes and understanding will smooth the pinch in her brow. She'll pull you into a hug and say that she believes you and she loves you and she's sorry. You wait. But someone announces they're moving on—no sign of him here—and all she does is smile. She doesn't yell, but you almost wish she would. She's never hurt you with her own hands, but you almost wish she would. We need fear Naim, she tells you, fear is how we survive. And you get in the car because you always get in the car, the day it took you away from the house your father died in and every Sunday morning since.
But then your mother pulls into the station to fill the tank, and when she walks out to pay, you open the passenger door and climb out with the banality of a dead leaf tearing free from its branch. You have nothing but the clothes on your back and a lighter in your pocket, but you head to the bus stop with no detours. You're in the wind now, and a dead leaf can't reattach to its tree. Bus brakes screech and hiss. The boy you thought they would find bloody and cold in the never-ending dry grass is standing there. He sees you. Relief is not a big enough word. He's the first you ever shared this feeling with, the feeling you've been scared of since you were too young to even know what it was. And when you see him standing at the bus stop you think he might also be your last. He has his roots in you, this boy, he follows you into your dreams and is your waking nightmare. You reached for the demon that wore his face believing it might be your final act, and even now, when you still can't be sure it's really him, your throat still bruised and cuts still healing, you cross the road.
There is no dramatic kiss, once he confirms it's you, no loud proclamation of love for everyone to overhear. The two of you are quiet, when you step onto the bus and find a seat. As the bus begins its journey, you see his mirror image outside on the grass watching you leave. But when you turn to your right, he's soundlessly resting, finally able to. The ending feels undeserved because it's not the ending. You smile, rest your head in the crook of his neck, and let the music play.
They wanted us to be scared
Genuinely most devastating beautiful movie
on my first watch i was so in naim's head that i didn't fully understand that from ryan's perspective he is experiencing the entity in a completely different way than naim. he doesn't share in naim's guilt at being the reason the entity was introduced to their lives, and in my opinion i think he's a lot less caught up in the "wrongness" of being queer than naim is. even when he and hunter are waiting for the deliverance healer to do the ritual, he's unfazed, making fun of the church goers for being gullible, snickering at the priest, outwardly unaffected. it's not until the ritual has real consequences that he starts to show genuine fear, and avoid naim if only because he knows the town will do the same ritual to him if they suspect why they're talking. even when he's attacked by the entity, and they learn more about what exactly it is that has been done to them, ryan's relationship with the entity remains so much less damning. when jessica tells them that it comes when they're alone, that it will never leave them, that it will only get worse, ryan just goes. ok fine. we'll figure this out together. he's so much more willing to try than naim, so much less shackled by the guilt and fear that naim struggles with throughout the entire film. not to say that he isn't scared, of course he is. but ryan continually pushes back on naim's defeatist attitude. I know it's scary but I want to try. I don't want it to look like some other dickhead, I want it to look like you. and at the end, naim leaving his mother behind and seeing ryan at the bus stop is him finally letting go of the strong hold the guilt and the fear has on him and meeting ryan where he's at. I can live with the fear, if it's with you. If it's with you, I'm willing to try.
can we talk about how tender leviticus was despite being a horror film? like yes the homophobia the isolation the haunting of the entity itself were all terrifying and the fear naim and ryan were feeling throughout the film was extremely palpable, but i feel like there was also this steady stream of tenderness bolstering it all?
it's in ryan's protectiveness towards naim that shines through even when he's hurt himself, it's in the way naim lets his guard down with the entity because he wants to be seen and to be loved in a town where nobody seems to (not even his mother), it's in the way ryan tells naim "it will never be me" but still makes sure he gets home safe, and then the way he looks so relieved when he realised it's the real naim (his naim) at the bus stop when he was ready to just leave town all alone---which, might i add, was probably an idea that naim gave him in the first place.
these two boys' love for each other makes me sick and i want nothing but the best for them.
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what i fucking love about this scene is that we know it's not really ryan, naim knows it’s not really ryan. there's no part about this that is naim being lulled, being seduced, being tricked, being gotcha!'d. it's not him but it wears his face; it talks like him, it caresses like him, it comes close and smiles and laughs like he would. naim is leaning in despite the danger, moth to flame, knowing full well what's in front of him and craving it anyway.
this is queerness as fantasy—what we could be if not for circumstance. it's queer desire in a world determined to treat us as aliens. more than any other moment in the film, this scene exemplifies leviticus thematically in one brutal, efficient stroke. they want us separate and alone and scared, but we don't have to be. loving hurts, and we love anyway.
I am obsessed with them
Obsession (2026)
Backrooms (2026)
Leviticus (2026)
Horror fans are eating good this year
it took 3 watches on the big screen for me to clock that when naim sees ryan in the store and tries to talk to him, ryan has already ecountered entity naim. it's blink and you miss it, but when naim approaches ryan you can see a bruise on ryan's arm just above his elbow, and when naim's eyes flick down at the bruise and he asks "are you okay?" ryan looks at him with a tiny pinch between his brow almost like he's confused why naim is asking. "you can't keep doing this," he says. you can't keep doing this, because to him it was naim that came round his house just yesterday. he kept his distance when he spotted him, because even though ryan ached to reach out and pull him in things have changed. you saw the ritual, everyone knows about me now. you're not safe. but naim said he didn't care and kissed ryan like he did at the mill, desperate and tender. but then suddenly it wasn't like the mill, because naim's hand on his arm squeezed hard enough to bruise, and when ryan shook free with a cry of pain, naim's face was utterly blank. it wasn't like naim, to hurt him, but ryan let it happen because he's used to intimacy coming with violence.
after the store, after the near miss with his mother, naim comes to his house again and asks to take him somewhere. how about the rollerskating rink? he says, innocent and shy, and something inside ryan swoops because maybe not all is lost, maybe things with naim could be different like he'd hoped. he holds the gate open for him unaware that the real naim is watching on in horror. they climb into the photobooth and naim leans in, equal parts timid and eager just like their first kiss and each that has followed. he laughs into naim's mouth, breath hitching when naim tugs his shirt up and off with a sudden boldness. "just me?" he asks with a grin, trying to be casual but wanting naim with an intensity he's never wanted anyone before. naim says nothing, leans in to kiss him again with a hand wrapped around his throat, and ryan lets his eyes slide shut.
a moment of silence for all the boys and girls and nonbinary children who learned love always comes with violence. shrugging off the bruises and the bite marks, eyes fluttering closed. thinking to themselves, "so this is what love and passion feels like" and laughing, "don't worry love, I like it rough". not being able to tell the difference between entity and lover, even when things get violent.
LEVITICUS (2026) dir. Adrian Chiarella
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getting to see how different ryan is with hunter vs naim was sooooo buzzy oh my god.. he and hunter throwing rocks and punches, yelling until eventually they're drawn together and get the sexual contact they actually want. ryan justifying to himself that he can have sex with boys as long as pain precedes it, him using masculine rough housing as a flirting method, and that shaping how he approaches naim initally. He insults him for being afraid of the snake, of heights. Insults him for being weak, wrestles him to the floor, gets physical, throws verbal punch after punch. And then, finally, violent foreplay out of the way, now he can kiss him. But naim isn't hunter. He's shy and tender and kisses back like he wants ryan not just the thrill of taking what he shouldn't want. And seeing ryan take that in, process it, and have his demeanor towards naim change completely throughout the rest of their intial romance is so endearing. The next time theyre in the abandoned mill, there's no wrestling or insults, no necessary precursor of violence. Just lying side by side, welcoming naim's vulnerability and returning it with his own. There's nothing you like about this place? Meaning: do you like me the way I like you? Then not a kiss he takes, one they both give each other, slowly meeting in the middle.
Posters for Leviticus (2026)
so much to love in this scene, of course the iconic “nothing” and their smoky kiss but more than that i adore the complete change in ryan’s demeanour here. this is such a contrast from ryan with hunter and ryan at the beginning—throwing stones, teasing, shoving, wrestling. all of this violence, as if making it hurt enough justifies what they’re about to do. pain is the price of intimacy, of desire, of giving in to himself. even the way he and hunter kiss is violent, it’s all grabbing hands and teeth and wrestling with ribs still aching from the force of their throws. the stones are punishment to these boys, a kind of self-flagellatory ritual they’ve devised together. i don’t believe their kiss under the hills hoist is their first one. i think they’ve just built this pattern, because it’s the only way they know how to live with this thing between them that they shouldn’t have. hurt me, and i’ll hurt you. kiss me, and i’ll kiss you. make me ache and you’ll make it better, and then when we walk away from one another we’ll have the bruises to prove it.
then we get this stillness with naim. gentle hands passing the joint back and forth, touching with his lips the place where naim’s were a moment ago, brushing fingers as it moves between them. it’s this quiet intimacy, the openness of their bodies, the way naim rambles about his mum and apologises for it, and ryan doesn’t comment or try to make him feel small. soft smiles, soft gazes, so there’s really nothing you like about this place? what about me? am i alone in this? are you here with me? is this okay? do you really not want to hurt me?
i’ll kill myself
Just watched leviticus and we’re going to talk about it, specifically about Ryan and Hunter throwing rocks at each other
1. in the bible, obviously, throwing rocks at a person was a public condemning and also cleansing, the obvious connotation here being that they are condemning each other for their relationship
2. but what i’m not really seeing people talk about is in another part of the bible, to save a woman from being stoned, Jesus tells the people that only one who has never sinned can throw a stone (biblically meaning that they’re all sinners in some way shape or form) but in the context of leviticus, it also means that hunter and ryan are able to throw the stones because neither of them are sinners
3. finally and outside of a biblical context, masculinity. as someone who currently lives in rural australia there’s a certain idea of what masculinity looks like and very often it is reaffirmed through roughhousing or acts of aggression. ryan and hunter throw rocks at eachother to affirm their masculinity before engaging in something that in their context, both religiously and socially, is inherently un-masculine: their queerness
happy gay month cause yknow cause you're gay and stuff
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Leviticus really said yes life will be harder because I choose to be with you but I choose to be with you despite it all
Loved that the film lets love and fear exist together, without easy resolution.
JOE BIRD, STACY CLAUSEN by Bowen Fernie
ABSOLUTE PEAK
