The Resurrection of the Succubus
SiREN (2016) is a rare achievement in horror: a feature-length expansion that retains the primal intensity of its source material. Based on the "Amateur Night" segment from the original V/H/S, Gregg Bishop crafts a world that feels clandestine and dangerous. By moving Lily—the hauntingly vacant predator—out of the shaky-cam format and into a polished cinematic landscape, the film elevates her from a mere jump-scare to a transgressive icon of supernatural obsession. It is a film about the danger of curiosity and the terrifying price of biological imperative.
Hannah Fierman: The Face of Predation
What earns SiREN its place in the Sharing The Sickness archive is the visceral performance of Hannah Fierman. Her portrayal of Lily transcends typical creature-feature tropes; she manages to convey a "sickness" that is both alien and deeply alluring. The film thrives on the discomfort of its setting—an occult brothel that treats supernatural entities as commodities—only to subvert the power dynamic in a violent, unapologetic fashion. It is a raw look at how the predator-prey relationship shifts when the prey is no longer human.
Transgressive World-Building
The film succeeds because it doesn't shy away from its dark, "extreme" roots. From the disturbing occult rituals of Mr. Nyx to the physical mutations of the Siren herself, SiREN is a high-octane descent into a very specific kind of cinematic sickness. It belongs here because it understands that true horror doesn't just come from what hides in the dark, but from the realization that we are fundamentally outmatched by the forces we try to exploit. It is a bleak, beautifully savage addition to our curated vault.