What could possibly be more terrifying than the reality Americans wake up to every day? Certainly not the typical horror films filled with witches, vampires or zombies, which may carry some allegorical weight but rarely land with the force they intend to. No, the real horror is watching our leaders lie on national television, appoint officials who echo the language and behavior of fascists, and watching our basic human rights erode in real time while the country collectively

Alejandro Amenábar’s debut Thesis fuses horror and thriller to probe our fascination with violence. This essay explores its metafilmic nature, tracing how voyeurism and desire emerge through plot, form, and setting—offering a prophetic reflection on today’s audience.