Sure, The Rise of Skywalker is no horror movie, but part of it feels seker soos one.

Since the ninth offlevering of the Star Wars franchise has been released, fans are quite upset about many of the choices that the director JJ Abrams made.

Of how character bows ends up a rather polarizing kiss, The Rise or Skywalker is to say the least controversial. But in the discussion of all its shortcomings, there is a component that was overlooked: its use to have body abomination.


While The Rise of Skywalker is not a horrorfilm, elements of the genre are used in scenes on the Sith planet, Exegol. These moments address the broader hideous implications around the Sith, which believe in doing everything necessary to achieve power and dominance of the galaxy.

It also includes controlling other bodies and removing bodily autonomy as a way to enforce control. What matters is, if I discuss this subject, I will only look at the nine Star Wars films and not to the extended universe.

Body horror is a subgenre of horror that, unfortunately, does not interact with the body. It is centered on the destruction of human form in usually disgusting and unnatural ways.

It is a subgenre that gives attention to the ductility of human flesh, how delicate it is and how it can change.

It does not always lead to death; It can also lead to monstrous forms that retain humanity. Prominent examples of body debilitation are among others John Carpenter’s The Thing, David Cronenberg’s The Fly and Ridley Scott’s Alien.

The Sith has always had a penchant for body horror, as seen in characters like Darth father and Traian Snoke.

Father himself is a cybernete nightmare, a seriously injured human body with mechanical parts to prolong his life and to ensure that he can terrorize the galaxy. His helmet and black suit hide both the body horror and its humanity, although his hard breathing suggests something is wrong.

If his face is finally revealed, it’s pale, scars and covered with a special breathing device. Father is an excellent example of the Sith that perverts the human body in something strange and a sampling, while still maintaining a facial image of personality.

It continues in The Rise of Skywalker as we have shown Exegol, where these body abominations are committed.

While previous Star Wars Films announced and briefly pointed out examples of such a body horror, this film confronts it head-on-head. Cluveed bodies of Snoke float in large cylinders. Faces, faceless creatures wander through these dements lab as if they are waiting for the next dements experiment.

This nearly reminds Stuart Gordon’s film ReAnimator from 1985, where a crazed scientist performs increasingly deband experiments from living organisms.

Not only is the visual of multiple Snokes unpleasant-he was supposedly killed in The Last Jedi-but continues to indirectly address the abominations of cloning. Although cloning cannot be regarded as body horror, it is perhaps one of the most donor forms of it.

Cloning, as seen in the whole Star Wars, takes the human body and repeats it seems forever to serve a deviant purpose, such as the Clonedrive Army from the second Star Wars film, Attack of the Clones.

The outcome of the cloning of Snoke is never shown, but the consequences of such an act infiltrate the spirit. Palpatine snoring even: ‘ I made Snoke. ‘ Were Snoke always a clone, a puppet of Palpatine? Or has it only been made use of his death? If we know the Sith, it’s probably the former.

Then there are Palpatine itself, something that was earlier human, but was distorted by the consequences of the Dark Side. As he orchestrate the dominance of the galaxy, he is connected with machines that seem to prolong his life. To put it simply, he’s old.

He is seen in every trilogy in different forms of decay, but he has always been there as a dark and conspicuous force. Now, while he is still the master of all, his body is made practically immovable. As the leader of the Sith, he sacrificed his human form in the name of ‘ progress ‘.

He is a strange being, something that looks like a human being in flesh, but with further inquiry is something else entirely.