Women in Horror Month: 9 Essential Horror Films Directed by Women

Happy Women in Horror Month! As I’m sure many others would agree, the horror genre can often feel incredibly male-dominated. Violence against women within these films is usually prominent, and in a world obsessed with inflicting this same violence in reality, being able to reclaim such a powerful tool as the horror movie is a very great thing. Besides which, this is a genre which naturally links itself to feminist thought. Traditional aspects of horror such as vampire lore, the final girl, slasher film tropes and the revenge plot all revolve around feminist themes, and it is not surprising that much academic discussion in this area concerns gender. In any case, after watching as many female-directed examples as I can find, I’ve firmly decided that women make the best horror movies. Take a look at the nine films below, and I’m sure you’ll agree.


A Girl Walks Home Alone at Night (2014), dir. Ana Lily Amirpour

Sheila Vand in A Girl Walks Home Alone at Night (2014). © Kino Lorber

Dark, stylish and atmospheric, ‘A Girl Walks Home Alone at Night’ is the Iranian vampire Western we never knew we needed. A sparse narrative cloaked in monochromatic tones illustrates themes of gendered violence, as the eponymous Girl hunts down villainous men. Vampire movies and feminist discourse have always gone hand in hand – the symbolic neck bite forming a transferal of agency – and Amirpour exploits this natural kinship whilst adding her own original mark to the genre. For ‘A Girl’ is a quiet, brooding movie, moving from character to character at a pace that some may find too sluggish. But this hesitance to over-embellish in a field that can so often be flamboyant is what gives the film its strength; the small moments form something so much greater, and it is the overall mood of the piece, rather than one scene or another, that marks it as a classic for feminist horror.

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“A Girl Walks Home Alone At Night” Is The Feminist Horror Movie Of Our Dreams. Literally.

A scene from the movie.

A Girl Walks Home Alone At Night is not your typical horror movie. It is not your typical movie in any sense, to be completely honest, but regardless — it is a great one.

Directed and written by Ana Lily Amirpour as her first feautre-lenght film, the 2014 made A Girl Walks Home Alone At Night (Dokhtari dar šab tanhâ be xâne miravad in its original language, Persian) can be described as a thrilling romance as much as it can be described as an arthouse horror flick. A movie comprised of extremely familiar beats matched up in a completely alienating form, it is shot entirely in black and white, has few lines — that are all spoken in Farsi — in it, and is powered by the performances of a practically unknown cast. As an “Iranian vampire Western”, it is first of its kind, and thus exist on an uncharted territory of filmmaking that makes it extremely hard to be defined or placed within borders. It is also metatextual take upon voyeurism and surveillance thanks to its use of a single cat, but that is an absolutely different perspective of criticism that belongs to an absolutely different piece.

A Girl Walks Home Alone At Night is also a movie that creates space for important conversations on issues such as conservatism, patriarchy, female rage, sexuality and cultural isolation.

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