Seven Days of Scream Queens: An IndieWire week of articles, interviews, and movie recommendations honoring women in horror has ended with the best feminist horror fests ever, including “The Craft,” “Teeth,” and more.
We ranked the ultimate girls and villains. We remembered Faye Ray and honored Jamie Lee Curtis. We’ve meditated on “Pet Sematary” by Marie Lambert, and famous star Jess Wexler who kicked Hell out of the Teeth, and considered the limitations of Carrey’s so-called mind, the Unsane, and more festivities of psychological horror.
We’ve glossed over our favorite horror movies and goddesses of all kinds to do the same with Kristen Connolly (“The Cabin in the Woods”), Leigh Janiak (“Fear Street”), Thora Birch (“Hocus Pocus”) and Barbara Crampton (“Re-Animator”), Milly Shapiro (“Hereditary”), Essie Davis (“The Babadook”) and more weight. Heck, Cassandra Peterson – yeah, The Elvira – So we sat down for a full conversation laying out what sets her Halloween-loving heart on, in an interview that also explores the LGBTQ underpinnings of countless scary movies.
Now, IndieWire’s Seven Days of Scream Queens—our horror-themed tribute to women and the influence of gay people on the film’s scariest causes—must be eliminated. And what better way to memorialize this killer week than by going to the jugular with a straightforward, but very limited order of the 13 best feminist horror films of all time?
Rather than drowning you out with every single pro-woman scary movie (because lucky for us, there are a lot), this curation includes only the most significant and subtle horror movies about women and gender issues. For example: Neil Marshall’s well-loved “The Descent” is great and goes cavernous through a cave system of female friendship-related themes, but it’s undistinguished because it doesn’t quite live up to the iconic messages, historical impact, emotional resonance, or character caliber seen in other films. in this list. This may be an official honorary mention for Brian De Palma’s “Carrie”, Ross Glass’ “Saint Maud”, “Fresh” for Mimi Cave, and “Halloween” unfortunately for John Carpenter who was left out of consideration a bit earlier in the final girl victory .
Look beyond the blood, guts, and even gloss that turns these stories into scary scenes fit for the big screen and you’ll find that they share at least one primary site. To paraphrase the miserable priest and feminist icon Margaret Atwood: Women are human beings, with the full range of saintly and demonic behavior that this entails. And to paraphrase Dick Wolf: These are their stories.
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