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Les Diaboliques (Henri-George Clouzot, 1955) is rightly celebrated in horror studies as a turning point for the horror film as a formative paranoid-psychological horror film that shifted the locus of horror away from the dominant externalist threats such as monsters and alien invaders in the 1950s (Hayward, 2005, pp. 41–42; Jancovich, 2011, p. 1; Kapsis, 1992, p. 57; Derry, 2009, p. 26; Tudor, 1988; Jancovich, 1992, 1996; Meehan, 2011; Hantke, 2018).
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