This text examines the character of the cat-woman in Jacques Tourneur’s Cat People (1942) and Paul Schrader’s remake of the same title (1981), within the frame of the contemporary evolution of the sinister and its body representations, like David Croneberg’s “New Flesh”. The paper analyses both the difference between both versions of the film as well as the chronological implication of its plot and characters, arguing that Schrader’s version is actually more conservative in its gender representations than the 1942 movie.