From the very beginning, Ida Lupino was destined to become an influential figure in the entertainment industry. Coming from the Lupino theatrical family, she wrote her first play at age seven and by ten she had memorized all the female leading roles in Shakespeare’s plays. That acting bug resulted in her 105 acting credits in films like High Sierra (1941), and appearances in television shows like Bonanza. But in an industry where good roles for women were hard to get, and with up and coming starlets vying for those roles, Lupino decided to leave Warner Brothers and create her own production company, The Filmakers [sic], with her husband, Collier Young. It was, primarily, an outlet for Lupino to direct, write, and produce her own low-budget and issue-oriented films. Their production company produced 12 feature films, six of which Lupino directed, five she wrote or co-wrote, and two she co-produced. It was during this time that Lupino became the first woman to direct a film noir: The Hitch-Hiker (1953). She later turned to television where she directed episodes for shows like The Twilight Zone, Gilligan’s Island, and Bewitched.
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.