
Ghost of Camp Blood
2018

2016
Director
Pearry Reginald Teo
Runtime
90 minutes
Average Rating
No ratings yetSynopsis
When one of their own loses his wife and daughter at the hands of a serial killer, a team of ghost hunters is determined to capture the spirits of the loved ones so their spirits can finally rest in peace. But as the team goes deeper into the house, the ghosts become more hostile, and the group discovers the true secrets of the house and its murderer.
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film lacks explicit LGBTQ+ characters or narratives addressing non-cisnormative identities. The central conflict focuses on traditional familial loss, adhering to conventional narrative structures.
Gender Representation
The plot centers on a male protagonist's grief following the loss of his wife and daughter. While a team is involved, the story follows standard genre tropes regarding gender roles.
Racial & Ethnic Diversity
There is no information regarding the racial or ethnic composition of the ghost-hunting team or the victims. The narrative provides no evidence of a diverse or non-white majority cast.
Religious & Cultural Diversity
The story utilizes a standard horror framework involving spirits and a serial killer. It lacks a critique of Western institutions or a deconstruction of traditional morality.
Disability Representation
The film does not feature characters with visible or invisible disabilities, neurodivergence, or chronic illnesses. No representation in this category is present.
Strengths
Areas for Improvement
AI Analysis
Ghosthunters operates as a conventional horror piece that relies heavily on established genre tropes. The narrative architecture focuses on a singular, traditional arc of grief and investigation, which lacks the intersectional depth required to disrupt social hierarchies. The film's reliance on standard familial structures and a male-centric emotional journey results in a lack of visible diversity. Without evidence of diverse casting or progressive themes, the work remains firmly within mainstream, traditional storytelling boundaries.

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