According to a logic that especially marks genre cinema – whereby the fantastic, the horrifying and the paranormal appear as symptoms or bodily manifestations of hidden desires, fears and traumas – here the threat of the doubles who advance in time is perfectly linked with the problematic of the relationship between Jill and David: it is, at once, a sharp psychoanalytic deconstruction and a perfect allegorical dramatisation of the female fear of replacement and stagnation.
Laugh Motel 