A fast-paced supernatural thriller that wants to be The Craft for a new generation, but gets lost in its own metaphor.
Director Alice Maio Mackay operates with a specific urgency. At only 20 years old, she has already built a filmography that refuses to wait for permission. Her previous works, Bad Girl Boogey and T Blockers, established a distinct style: genre filmmaking filtered through a distinctly queer and trans lens. Mackay does not borrow from horror; she bends it to serve stories about bodies that feel unsafe and communities that offer the only real salvation. Her latest, The Serpent’s Skin, continues that trajectory, pushing supernatural imagery into the space of trans identity and found family.
To understand Mackay’s approach, it helps to look at the long tradition she is joining. Trans positive horror is not a contradiction; it is a lineage, films like Bit and They/Them have tried to reclaim the genre’s tools, using the vampire or the slasher to visualize the experience of transitioning or the violence of transphobia. Mackay exists in this space comfortably. She knows that horror is often the only genre honest enough to admit that growing into your true self can feel like a death and a rebirth simultaneously.
The Serpent’s Skin opens with that feeling of suffocation. Anna, played by Alexandra McVicker, escapes a transphobic household only to find herself untethered in a new city. She moves in with her sister, hoping for stability, but discovers something simmering beneath her skin: a supernatural power that responds to fear and anger. It is a familiar setup. Mackay is channelling the aesthetics of 90s teen horror, specifically The Craft, where magic becomes a metaphor for female rage. But here, the rage is specifically gendered and targeted. Anna’s power is not just about being a woman; it is about being seen as a threat for simply existing.

After escaping her transphobic hometown, Anna meets goth tattoo artist Gen. They bond over shared supernatural abilities, but Gen’s tattoo work accidentally conjures a demon before their romance can bloom.
Initial release 22 June 2025
Director Alice Maio Mackay
Running time 1h 23m
Producers Alice Maio Mackay, Louise Weard, Turner Stewart
The Serpent’s Skin Review: Alice Maio Mackay’s Trans Horror Has Heart but Lacks Bite
A Horror Movie Review by Rachel Willis

Channelling films such as Carrie and The Craft, director Alice Maio Mackay brings a new take on women with power in her film, The Serpent’s Skin.
Fleeing from her transphobic home life, Anna (Alexandra McVicker) moves to the city to live with her sister (Charlotte Chimes). An intense opening scene lets us know how bad things are for Anna at home, so as she settles into her new life, you can’t help but hope she’ll find acceptance.
Anna finds more than acceptance as she reckons with newfound powers that allow her to defend herself in unexpected ways. When she meets Gen (Avalon Fast), a woman with similar powers, the two form an instant bond.
The film treads familiar ground as Anna and Gen learn both the depth of their power and the ability to harness it.
Mackay is fond of montages. Several occur in the film’s quick runtime. Some of those feel more relevant than others. Anna learning the ropes of her new job is a montage we could have done without. The time would have been better spent deepening her relationship with Gen or fleshing out ancillary characters.
Mackay writes with Benjamin Pahl Robinson. Their dialogue is clunky and repetitive, and it’s not always delivered with the right tone or emotion. While there are a few decent actors among the cast, the two leads are often the weakest of the bunch.

It’s not always clear why some of the events occur as they do. Mackay’s metaphor gets muddy as Anna and Gen deal with the consequences of their power. The filmmaker’s quest to mine new ground seems to obscure the larger theme.
It’s disappointing that The Serpent’s Skin isn’t as strong as it could be, because its allegory is both important and timely.
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