Horror has always provided a foundation for social commentary. As an audience, our fear of the monsters on screen can reflect – or negate – the fears that are deeply rooted within our communities. Gender, therefore, is an obvious topic for the horror director, and the academic links between feminist analysis and genre filmmaking are extensive. It’s the reason why Much Ado takes part in ‘Women in Horror Month’; we wish to highlight the fact that women excel when it comes to the monstrous and the terrifying.
Karyn Kusama lies at the very heart of this link, as a horror filmmaker who places female stories front-and-centre within her work. Her protagonists are richly developed, flawed and driven – whether that be for blood, success, or revolution. Her films provide subtle commentary upon the patriarchal grip of masculinity, the immovable nature of grief, and the overbearing pressure of maternal love. Her stories are interwoven with humour, poignancy, and wit. From ‘Jennifer’s Body’ to ‘The Invitation’, Kusama’s short filmography is an example of how female filmmakers truly own the horror genre.
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
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.