‘Hereditary’ Offers a Fresh and Horrific Look at Family Trauma

Grief, guilt, and mental illness are not unusual themes in horror film. We’ve seen them in The Babadook, The Witch, It Follows, the list goes on. But Ari Aster’s debut feature film, Hereditary, takes the struggles of grief to another horrifying level. What he creates is a tense, devastating, and at times difficult to watch, look at the trauma we suffer at the hands of our family and how that trauma lives on past death.

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Toni Collette in Hereditary (2018)

Hereditary opens on the grieving Graham family. Annie, played by the phenomenal Toni Collette, has lost her mother and is trying to work her way through this loss with support groups and working on her artistic miniatures. Meanwhile, her husband, Steve (Gabriel Byrne) tries to maintain some semblance of normalcy with their son, Peter (Alex Wolff), and young daughter, Charlie (Milly Shapiro). But slowly everything begins to fall apart into a very dark place. Telling you any more about the plot would ruin the film and this is best viewed without any idea of what to expect.

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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

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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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