The article analyzes contemporary body horror cinema from 2014 to 2025 as a medium of gnostic knowledge. The subject of the study is the aesthetics of bodily otherness and transgression as mechanisms for the formation of female subjectivity. The research corpus comprises nine films organized into three thematic clusters: motherhood and bodily boundaries (The Babadook, Ich seh Ich seh, Prevenge), the doppelgnger and the dissolution of identity (Raw, Titane, The Substance), and simulation and nomos (Border, The Ugly Stepsister, Gretel iek) and feminist horror theory (Creed, Clover, Williams). The scientific novelty lies in the first systematic application of gnostic hermeneutics to the analysis of body horror. The study proposes a model of the "gnostic body" that describes the structural relations between body, knowledge, and subjectivity in contemporary genre cinema. Three states of female gnosis are identified — refusal, authorship, and bodily pleroma — alongside a fourth position: false gnosis, defined as recognition that fails to produce liberation. The concept of the post-Final Girl is introduced to describe a heroine whose agency is grounded not in overcoming an external threat but in integrating bodily otherness. The study demonstrates that body horror occupies a liminal position between postmodernist and metamodernist modes: it deconstructs nomos while simultaneously proposing alternative mythologemes — pleroma, Sophia, gnostic awakening — as a horizon rather than nostalgia. The findings situate body horror within the broader context of gnostic visual culture in the twenty-first century and extend Barbara Creed's concept of the monstrous-feminine as applied to contemporary genre cinema.
Alexey Igorevich Pozharov (Sun,) studied this question.