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It’s time for your repertoire of terror.
With New Mutants, despite everything just around the corner (hopefully), I sought to revisit some of my favorite horror heroines. While last year’s Brightburn may have been the first widely distributed film to explore the overlap between superheroes and horror, it still looks like exciting new territory for a cinematic landscape that may feel overrun by superhero movies.
In honor of New Mutants being a horror film about young women, as well as a superhero movie, I need to celebrate other horror videos that focus on young women, many of whom gain new powers that can frighten themselves and others (and often the patriarchal prestige quo). Yes, there are also men in the band New Mutants, however, the cast is directed through Maisie Williams and Anya Taylor-Joy, the latter is already a horror icon at 24 due to its magical deyet.
Address: Carl Theodor Dreyer
Carl Theodor Dreyer’s hobthrough for Joan of Arc would probably not be a horror film by some standards, but watching it is terrible and scary. The story follows Joan after being captured and attempted by heresy. We see the ecclesiastical court continually seeking to intimidate her and lie to her to renounce her conviction that she spoke to God, who gave her the plan to lead France opposite England.
Joan of Arc’s passion is the ideal starting point for this list because it connects the audience with Jeanne through her terrifying reports interviewed through the court. Much has been written about Dreyer’s excessive close-ups and Renée Jeanne Falconetti’s incredible performance, but they deserve to be repeated because they do so much to align the viewer with Joan that most of the other characters in the film’s narrative would tell you it’s wrong.
Joan of Arc’s passion provides a plan to create empathy with a female character whom the global film calls villain.
Filmmaker: Jacques Tourneur
The first film by legendary manufacturer Val Lewton in RKO Pictures in 1942 is also the most productive of the atmospheric and psychologically rich horror classics he made in the studio. The film follows Irena, a Serbian immigrant to the United States who meets a great young man and falls in love. But things get hot when Irena doesn’t get physical with her new boyfriend because she’s afraid to become a cat if she’s too physically excited (it’s a heavily censored 1940s film, so naturally it’s full of euphemisms). That’s right, he’s afraid to become a cat.
The film explores Irena’s concern and preference as a whole, and specifically her concern for what that preference may do to her. The film is notable not only for having a female protagonist suffering with her preference, but also for keeping the firm appearance of a character who can actually be a monster.
It should also be noted that Cat People has the first concern to jump into the history of cinema, which blew this horror fanatic in at least one visualization.
Another premiere with Cat People, Brian De Palma’s adaptation of Stephen King’s novel, the first film founded on King’s play. We may not live in our world today of more than fifty Stephen King film adaptations if Carrie isn’t as big as her.
Carrie begins with Carrie’s first rules, a terrible pleasure for a young woman to which her fanatically devout mother never reports on her body. With her first term, Carrie begins to be informed that she has telekinetic powers. The story is proposed as an exploration of Carrie, who makes sense as a woman and is informed to feel more confident in her framework and in the decisions she makes. Carrie is the first film to show that horror stories and coming of age are a game made in paradise (or hell, as it possibly would be).
I’ll never be able to hear the “Eve low” line without thinking about this song.
Director: John Fawcett
Just as The Witch turned Anya Taylor-Joy into a horror icon when she was still a teenager, Ginger Snaps established Katherine Isabelle as one of our wonderful fashion horror actresses at just 19.
Isabelle plays Ginger, a top student who is on the verge of some serious transformations. Like Carrie, the story begins with Ginger scored his first period. Instead of bringing his telekinetic powers, Ginger’s blood catches the attention of the werewolf in the community. After Ginger is bitten, the film provides us with a front-row seat for her physical and mental adjustments as her sister Brigitte desperately tries to save her from herself.
Ginger Snaps is notable for many things, its practical effects, the apparent parallels between puberty and adapting to a werewolf, the hard rock soundtrack of the 2000s and select metal, but what is more memorable is that the basic quotes in the film are between Brigitte and Ginger. It’s a horror movie about sorority ties, and it’s something special.
Director: Mitchell Lichtenstein
Teeth’ reputation may precede it. Yes, it’s the film about a woman whose vagina has teeth, but it’s also an empathetic look at a young woman who’s been taught to hate her body and worry about her desire, learning to own both.
Dawn begins the film as a spokesperson for abstinence, exposing the risks of sex to her teenage peers. When only one of her abstinent members of the organization sexually attacks her, she learns that all members of her abstinence practice what they preach. During this traumatic encounter, Dawn also tears her rapist’s penis with her vagina, alerting her to the fact that she has a ‘dentata vagina’. The audience then watches her perceive and settle for her body, learning along the way that she can have sex without risking castration when she consents enthusiastically.
Teeth manages to be an older story, as he takes his characters seriously and recognizes the absurdity of his concept.
Director: Karyn Kusama
You’ve probably heard it’s no longer good that you don’t like Jennifer’s Body. But the film never deserved the disrespect it had when it premiered, a challenge that this Vox article explains much bigger than me.
Jennifer’s Body is perhaps for friendship what Ginger Snaps is to fraternity. Holder Jennifer becomes a men-eating succubus after an independent band tries to sacrifice her to the Satan in exchange for a rock celebrity (such as Ginger Snaps, Jennifer’s Body is a glorious capsule of musical time). The film then focuses on the insatiable bloodlust of Jennifer and her friend Needy, short for Anita, but yes, she uses the word “needy,” desperately seeking to turn Jennifer into the user she was before. The film also gives the audience creature and blood effects.
He also has one of the kisses I’ve noticed in my life and responds to the call of a Hole song.
Directors: Justin Benson, Aaron Moorhead
In most female-directed horror films on this list, audiences are primarily identified with tough and even monstrous women from the start. Spring is a little different, as we started the film following Evan, a young American who travels to Italy after his mother’s death.
In Italy, Evan meets Louise, a mysterious young woman who falls in love temporarily. Louise helps keep Evan at bay while they’re dating as things start to happen in the small town that sets the film. Evan finally learns that Louise is rarely everything she seems, or rather that she is much more than she seems. She is a mutant with the ability to live forever, she just has to go through a slightly exhausting mute procedure every few decades and he took her right in the middle of such a procedure.
Spring is special for many reasons. Wikipedia describes it as a “romantic horror film about framing,” a genre that probably inhabits alone, but what leaves it aside is that we know Louise for years, literally centuries, to live her life as this other kind of human. We see her as confident, knowing precisely what is happening to her body, even though Evan is frightened when she first discovers her convulsive metamorphosis.
Address: Robert Eggers
I mean, what did you expect? By the top, The Witch is a vintage that brought the global to the incomparable Anya Taylor-Joy and gave the Internet the ever memorable Black Phillip.
Robert Eggers’ time-era and intensely sought-after debuts put us in the shoes of Thomasin when she and her circle of relatives were exiled from “the plantation” in the early 17th century in New England. With her circle of relatives living alone in the woods and given her strict devout beliefs, it’s no wonder that when things start to go wrong, they seek to blame their teenage daughter, a simple goal of anger even today, just think about how many other people hate safe music just because teenage girls love her.
What distinguishes The Witch from most of the films on this list is that Thomasin does not go through any replacement as an incident that incites the story, in fact, the entire scapegoat occurs before she very actively chooses to make a replacement due to the repression/oppressive environment that has created his circle of relatives. History is not about learning to settle for unwanted strength, but of choosing to take a potentially perverse force to escape an unjust world.
Address: Joachim Trier
Thelma, Thelma’s eponymous heroine, has telekinetic forces very similar to Carrie’s. But for Thelma, there is a clearer link between her preference and her strength that was obviously established from the beginning. The first sign of the development of Thelma’s strength comes when the charming Anja sits next to her in the library, a potentially cute encounter that is interrupted by the slaughter of ravens crashing frantically into the windows.
Like Carrie, Thelma grew up in a devoted house with parents who need to control each and every facet of her life, doing so in a much softer and more sophisticated way than Carrie’s mother, allowing Thelma to live on the campus of the unsigned university. constantly. about their schedule, which they memorized.
Unlike Carrie, Thelma necessarily becomes an affair with touches of terror that never become anything free, but they are incredibly effective. In fact, it’s this ingrained taste that makes Thelma such a smart movie. This is never fantastic or as a genre film in its own right away from authenticity, plays its premises and allows us to care about Thelma as a genuine young woman who accepts and embraces her preference and her new power.
Director: Julia Ducournau
Raw and Thelma will be cut into the same fabric for me. Or dated in 2017 (at least in the U.S.), They focus on young women in the first year of school away and, at the same time, sexual awakenings with something less universal. For Justine of Raw, her sexual preference goes hand in hand with a more literal hunger for meat. After being a vegetarian all her life, Justine is forced to eat a rabbit kidney as part of a hazing ritual at her veterinary school, leading her to want raw meat more and more.
Like many 21st century French horror films, Raw has touches of excessive violence and a frame in violent and sexual experiences and, of course, the sum of the two.
Raw has been nominated for several César Awards, Best Director and Best Original Screenplay for Screenwriter/Director Julia Ducournau and Most Promising Actress by Star Garance Marillier.
MORE HORROR: – The 50 Most Productive Horror Games of All Time – The 10 Most Productive Horror Movie Previews of All Time – The 20 Most Productive Horror Movies You See
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