The possibility of seeing the things that would be too horrific in the real world, and the ability to paralyse, holding one’s gaze adhered to the screen, made cinema especially fitting for the horror genre and the monstrous images to Kracauer (1997/1960). This paralysing effect of film has also been explored through the notions of suture and rupture, which describe the integration between camera shots and the viewer, the ways they are “stitched” together, or the ways the integration falls apart. Although these notions can often be discussed as formal properties of cinema, the present paper argues that when it comes to horror and monstrosity, they correspond to both its contents – involving diegetic horrific image – and its form. Defining different approaches of portraying monstrosity in today’s cinema, with both positive and negative attitudes towards monstrous characters and images, and exploring an empirical approach, the presentation shall analyse two full-length features – Guillermo del Toro’s “Pan’s Labyrinth” (2007) and John Krasinski’s “A Quiet Place” (2018), with the aim of investigating the presence and significance of suture and rupture, as well as montage, and several other related aspects of film grammar, such as composition, framing, camera angle, and others, and determining their patterns and connections to the content.References:Kracauer, S. (1997/1960). Theory of Film. The Redemption of Physical Reality. Princeton University Press.