The relationship between Turkish folklore and cinema is highly interrelated. The codes for a specific culture are manifested in the fields of art that reflect that culture. Cinema, as an art form in which cultural codes are frequently used, can represent the structures of these codes that have left a mark in the imagination of society. The directors may choose to produce their works by referring to the stereotyped cultural codes and making use of them in order to convey their culture, in which they have grown up, to the spectators. The fact that the Turkish spectators are able to watch the films based on the data they can make sense in the works produced in the field of cinema is effective in the perception of the messages to be given in the films and important in internalizing the watching experience. In this context, while making production in the field of horror film genre in Turkish cinema, items that may scare the Turkish spectators can be identified and the stories related to these elements can be presented to the spectators. In this study, the film Dabbe Zehr-i Cin (2014), which has been the top-grossing horror film in the 2000s in Turkey, was examined within the scope of the semiotic theory of Charles Sanders Peirce based on trinity and the relations between the elements included in the study and the fear elements included in the codes of Turkish folklore were established. The reason for choosing this method was to understand the process of making sense of the systems of signs that emerge in the relationship between horror film elements and religion and culture. Carl Gustav Jung's ideas about dreams and symbols, explained by associating with the subconscious and religion, were used to make sense of these concepts with a different approach and to provide detailed explanations to the film review. Jung's thoughts were also included in the examination because Jung's approach is different from that of Peirce and it will enable multiple readings in the making sense and questioning of the film. The aim of this study is to draw attention to the correlativity of the relation between religion, culture, and cinema by examining the presentation of the djinn element of Turkish folklore in the horror film narrative. In the conclusion section, as mentioned, implications were made regarding how the correlative way of the relation between religion, folklore, cinema, and culture was intertwined in the film Dabbe Zehr-i Cin. In this context, the thoughts that were questioned about why the film was watched by so many Turkish spectators in 2014 have become visible in the findings in the conclusion section.