As a longtime connoisseur of the dark and the macabre, I find myself utterly captivated by this curated list of films that defy conventional norms and push boundaries beyond the realms of good taste. These cinematic gems have not only left an indelible mark on my psyche but also served as a testament to the power of transgression in storytelling.
Goth is more than a style; it’s an atmosphere, a feeling, and due to innovative directors, set designers, costume creators, and art directors, it has become a distinctive cinematic community. It’s not only about Tim Burton; there are numerous films that embody the gothic philosophy and appearance. From these movies, we could establish a gothic film canon.
Goth music, stemming from the realm of Gothic literature, horror, mythology, baroque art, and influential bands like Siouxsie and the Banshees, The Cure, Joy Division, and Bauhaus, frequently intertwines with various genres. This can range from themes of vampires, haunted houses, to science fiction and even cannibal love stories. What ties them together is an intrigue towards the unknown, the eerie feelings one gets while exploring a graveyard at night or acknowledging deep-seated emotions like unrequited love. It’s a blend of the dramatic, romantic, rebellious, and ominous.
To showcase the evolution of the goth subculture as portrayed in films, we’ve curated 25 movies (originally numbering around 70) that span different periods and reflect how depictions have changed over time. These films create a comprehensive picture of the themes, aesthetics, and fashion associated with this subculture, as well as its influence on the counterculture. In keeping with the trendy and stylish nature of goth culture, we’ve categorized these movies based on their characteristic elegance – grouping them by common themes such as the sleekness of PVC, the romanticism of velvet and lace, the provocative allure of bare skin, and the ominous atmosphere of blood. Essentially, we’re inviting you to step into a single, large, dark cinema; why not make it a movie night?
Crushed velvet and lace
Movies categorized as period dramas, fantasies, or romances, evoke the sensation of a musty book closing with a thud, and an old wooden door softly squeaking, inviting you to step in.
Bram Stoker’s Dracula (1992)
The penultimate grand undertaking by Francis Ford Coppola prior to the release of “Megalopolis” is a mesmerizing, lush, and almost miraculously crafted film. This movie manages to evoke the terror inherent in its literary roots while simultaneously highlighting aspects of Bram Stoker’s groundbreaking vampire novel that might not be immediately apparent during the first read. Winona Ryder is poised to make a significant impact on this classic, embodying Gen X’s gothic princess (with “Heathers” as a strong contender for the title). Her portrayal of Mina Harker could very well be her finest work of that era; her wide-eyed expressions and labored breaths beautifully convey her character’s self-restraint and sexual repression, making it clear how susceptible she is to Count Dracula’s (Gary Oldman) enchantment. The film excels in every aspect, including Eiko Ishioka’s unforgettable costumes, particularly Vlad the Impaler’s blood-red armor; Sadie Frost’s sensual scene with wolf-form Dracula is truly extraordinary; and Keanu Reeves’ accent, while not perfect, is tolerable. The collective effort and attention to detail make “Bram Stoker’s Dracula” a transcendent experience, one that transports viewers every time they watch it. If you’re seeking a more gothic-inspired Keanu Reeves performance, “Constantine” is readily available.
Interview With the Vampire (1994)
Discussing contemporary goth culture is incomplete without mentioning Anne Rice’s “The Vampire Chronicles” novels, and a conversation about these novels is not fully satisfying without bringing up the 1994 film “Interview With the Vampire,” which was adapted from Rice’s novel. The film stays true to the book in terms of the characters’ deep conversations, Louis de Pointe du Lac’s (Brad Pitt) continuous melancholy, and the sinister allure of the Théâtre des Vampires coven led by Armand (Antonio Banderas). If you appreciate gothic style with ruffled shirts and intense gazes, this film is for you! For those more into nu-metal and ultra-low clothing trends, both masculine and feminine, there’s “Queen of the Damned,” which adapts Rice’s second and third Vampire Chronicles books. However, the main reason to watch “Vampire” is an exceptional performance by Tom Cruise as Louis’s creator, Lestat de Lioncourt. Cruise isn’t typically known for villainous roles anymore, but his portrayal of Lestat will make you yearn for more such performances.
Labyrinth (1986)
Jim Henson is known for creating the beloved Muppets. He also brought David Bowie’s character, the flamboyant goblin king Jareth from the film “Labyrinth,” to life. This Byronic figure served as a sexual awakening for many, and for those who were already fans of Bowie due to films like “The Hunger,” “Labyrinth” offered an entertaining addition, featuring Bowie in a lavishly decorated costume.
Häxan (1922)
One of the initial Ur-gothic texts, the Swedish silent film “Häxan,” blends documentary and storytelling, and is a endeavor by writer and director Benjamin Christensen to trace centuries of beliefs in and accusations of witchcraft. It’s captivatingly bizarre, with visuals and vignettes that evoke the sensation of a delirious dream – Christian symbolism tinted blue, red sequences depicting devils and demons, black-and-white scenes of women frolicking around lifeless infants. A significant portion of our understanding of witchcraft, as well as the mental images we conjure when considering witches, can be attributed to “Häxan,” including the notion that fear among men may have fueled a great deal of the hostility and violence towards accused women. It’s one of the most feminist films on this list. You might want to pair this with the 1940’s “Rebecca,” the 1961 “The Innocents,” and the 1981 “Possession” for a compelling marathon that explores the theme of men putting women through various hardships.
Crimson Peak (2015)
Guillermo del Toro is often underestimated in terms of his romantic filmmaking abilities. In essence, movies like “Hellboy” and “Hellboy II: The Golden Army” can be seen as tales of two outcasts finding love, while the confrontation between Raleigh and Mako Mori in “Pacific Rim” exudes a strong sexual tension. Furthermore, the film “Crimson Peak” is del Toro’s most direct exploration of the costs of love, particularly forbidden love. The characters are deeply haunted by their secrets and regrets, and they seek companionship as a means of redemption – a theme that resonates with Gothic literature. To put it simply, this film embodies the essence of gothic romance, as evidenced by the scene where Sir Thomas Sharpe (Tom Hiddleston) and his sister Lucille (Jessica Chastain) wear black-out sunglasses – a level of darkness that encapsulates the gothic genre.
Suspiria (1977)
Discussing Suspiria, Dario Argento’s groundbreaking giallo horror film, is always exciting! Its influence can be seen in diverse works like Nicolas Winding Refn’s The Neon Demon and Adam Wingard’s The Guest, not to mention Luca Guadagnino’s own remake. The original Suspiria is uniquely extraordinary, offering a whirlwind of color and tension that might appear dissimilar to the typical gothic aesthetic. However, its atmospheric tension, unique take on witchcraft folklore, intricate plot development, and Udo Kier’s eerie presence make it an essential piece in the horror genre’s foundation.
PVC
These productions, influenced by film noir and sci-fi genres, often incorporate a hint of sensual undertones. They distort reality using an abundance of belts and fasteners.
Hellraiser (1987)
Acclaim goes to Clive Barker, a trailblazing figure in the gothic genre, recognized for the explicit sexual themes in his horror and fantasy works, as well as directing the influential movie Hellraiser. Barker’s Cenobites, cosmic beings who confuse pain with pleasure and blur the boundaries between eroticism and brutality, have left an indelible mark on all things gothic. From their preference for PVC to their dedication to kinkiness, these characters have significantly influenced fashion, from the gothic style in movies like Underworld and The Girl With the Dragon Tattoo, to the appearance of every mall goth you’ve ever encountered. What is notoriety if not that?
Dark City (1998)
The penetration of Goth culture into mainstream cinema was facilitated by several key figures, including Winona Ryder, Tim Burton (who will be discussed later), Johnny Depp, David Bowie, Christina Ricci, and the less frequently recognized Jennifer Connelly. In the movie “Dark City,” directed by Alex Proyas, Connely’s portrayal of a goth-inspired Snow White character as a feisty teen in “Labyrinth” and a damsel in distress in “Dark City” stood out. Her role was that of a femme fatale singer with a shared enigmatic past with the protagonist, John (Rufus Sewell), becoming entangled in his struggles against the shadowy, reality-manipulating beings known as the Strangers. The film “Dark City” excels due to the distinctiveness of Proyas’s inspirations, notably Fritz Lang’s “Metropolis” and “M.” This cinematic work emphasizes goth’s origins in noir, science fiction, and German expressionism while simultaneously breaking free from those influences to deliver a suitably bizarre conclusion. It made a powerful impact alongside Proyas’s earlier film, “The Crow,” another influential goth production.
Batman Returns (1992)
Instead of continually debating whether Batman functions as a police officer, it’s crucial to acknowledge that Batman stands as Gotham City’s most significant superhero. In the 70s and 80s, creators like Frank Miller and Neal Adams at DC Comics revitalized Batman, transforming him into a brooding, melancholic character closer to his original vision, in stark contrast to Adam West’s humorous portrayal from the TV series. Tim Burton capitalized on this reimagining with his hit Batman, but it was his sequel, Batman Returns, that truly showcased Batman’s complexity. Featuring anarchic energy, a unique blend of brutalist and art deco aesthetics, and themes revolving around found families among the marginalized members of society, this film is the epitome of gothic cinema. Who can forget Michelle Pfeiffer’s iconic portrayal of Catwoman in her fetish attire? Let us cherish that memory fondly.
The Cell (2000)
Eiko Ishioka was unfailingly impressive, and her success following the Best Costume Design Oscar win for “Bram Stoker’s Dracula” was no exception. She designed striking outfits for Tarsem Singh’s “The Cell,” a psychological thriller where Jennifer Lopez, as a child psychologist, enters a serial killer’s mind to save his latest victim. Although the plot may remind you of ’90s and early 2000s themes like those in “The X-Files” or Kathryn Bigelow’s “Strange Days,” Ishioka’s designs give the movie an enduring, eerie atmosphere. For instance, Vincent D’Onofrio is depicted as a demon with horn-like hairstyle, as a surgeon-king in gold attire and damaging scissors, and in a massive black cape with a metal sweep on his bare chest resembling an armored bird. Such an ensemble with PVC pants, corset, and numerous accessories is undeniably gothic.
The Chronicles of Riddick (2004)
In a creative twist, The Chronicles of Riddick seems to have been inspired by David Twohy and Vin Diesel drawing upon elements from Dune and Dark City, resulting in an intriguing blend that can be seen as a tribute. The antagonists in this film, known as the Necromongers, don armor reminiscent of brutalist architecture and possess a unique characteristic: soul harvesting. While some might view it as derivative, the action-packed adventure certainly provides an enjoyable experience. Moreover, Thandiwe Newton delivers a mesmerizingly over-the-top performance as the ambitious Dame Vaako, adding to the film’s dark, gothic spin on science fiction and fantasy, with her reptilian attire further enhancing the atmosphere.
Leather trench
These individuals are known for their unpredictable nature and solitary lifestyle, driven by an insatiable curiosity about the unknown beyond the boundaries of our perceived reality, prepared to risk their own identity in pursuit of this discovery.
Near Dark (1987)
1987 was undeniably a year that resonated deeply within the realm of gothic-vampire culture; it was during this time that “The Lost Boys” graced our screens, adding to the allure of the genre. However, while numerous punk vampires have graced our presence over the years, I firmly believe that there’s a compelling argument for Bill Paxton’s portrayal of Severen in Kathryn Bigelow’s “Near Dark.”
The Crow (1994)
Brandon Lee skillfully portrayed his character in “The Crow,” the 1994 film adaptation of James O’Barr’s graphic novel, with an intense and dynamic performance that permeated the movie. Discussing “The Crow” without mentioning Lee’s untimely death during production would be incomplete, as it’s hard to ignore the chilling parallel between his on-screen demise and the real-life tragedy. However, focusing solely on the unfortunate incident would overlook the fact that Lee breathes captivating life into “The Crow.” As an actor who shunned artifice, he imbues the film with a compelling human essence. This is a love story tinged with loss, set against a backdrop of towering tombstones and menacing gargoyles, accompanied by music from genre greats like The Cure and Nine Inch Nails, and adorned with black lipstick and leather. It’s a prime example of gothic excellence, and it is Lee who makes it shine.
Blade (1998)
The blood-rave scene. What else is there to say?
Night of the Demons (1988)
While “The Craft” showcases Sarah’s transformation into her nemesis and otherworldly encounters, “Night of the Demons” focuses on Angela Franklin (Amelia Kinkade) and her peers attending a Halloween party in a haunted house, leading to a series of demonic possessions. In “The Craft”, Nancy (Fairuza Balk) engages in forbidden activities such as shape-shifting into her rival, having intimate moments with Skeet Ulrich, and summoning cosmic powers. Both movies feature rebellious teenage girls exploring the dark side in the gothic genre, don’t they?
The Craft (1996)
If a Gen-X or millennial woman claims that none of the four teenage outcast-turned-witches in “The Craft” resonated with her, it’s likely she’s being honest but misunderstanding the film’s themes; chances are, she identifies with them more than she realizes.
The Matrix (1999)
A movie that significantly revolutionized the American action genre by incorporating Hong Kong influences and popularizing sleek, shiny PVC as a stylish choice. Many aspects of “The Matrix” have persisted in influencing high-concept sci-fi for the past 25 years since its debut: its portrayal of dystopias and rebellions, its exploration of the nature of reality, Trinity’s unique representation of a strong female character, and the ubiquitous trench coats. Although “The Matrix” is often associated with cyberpunk due to its green neon code lines and brutalist spaceships, it has two standout qualities that truly define it: the romantic relationship between Neo and Trinity (which both empowers and endangers them) and the characters’ relentless pursuit of self-discovery and independence, placing it firmly within gothic themes.
Black-and-white stripes
For film enthusiasts like myself, the minimalistic visual style paired with the maximalist use of imagination is a captivating blend, appealing not just to German expressionists but also to the peculiar teenagers who share this fascination.
Edward Scissorhands (1990)
In the realm of filmmaking, my collaborations with Tim Burton, Winona Ryder, and Johnny Depp – each partnership unique in its own way – have undeniably contributed to popularizing and softening the image of goth culture. Nestled within this creative journey is our magnum opus, “Edward Scissorhands,” a production from 1990 that elevated Depp and Ryder to the throne of goth royalty. This film serves as Burton’s manifesto, a celebration of kind-hearted outcasts, a visual fusion of John Waters’ quirky aesthetics and the macabre charm reminiscent of “Frankenstein,” and a gentle satire of suburban life. As Burton’s career progressed, particularly in our subsequent projects like “Dark Shadows,” “Sweeney Todd: The Demon Barber of Fleet Street,” and even “Ed Wood,” these peculiarities only amplified. It’s fascinating to note that Hot Topic has thrived for decades, largely due to the merchandise from “Edward Scissorhands” alone!
The Nightmare Before Christmas (1993)
In simpler terms, “The Nightmare Before Christmas” shares similarities with “Edward Scissorhands,” both being creations of Tim Burton. They both feature a romantic storyline involving a dreamer who doesn’t fit in but eventually wins acceptance, albeit set in different worlds. However, “The Nightmare Before Christmas” stands out with its catchy songs, stunning animation, and genuine scary elements, unlike the harmless home decorations inspired by Oogie Boogie today. Notably, Henry Selick directed “Coraline” in 2009, a highly recommended film, while Tim Burton’s 2012 animated film “Frankenweenie” is decent.
The Cabinet of Dr. Caligari (1920)
Among the most influential silent films ever made, “The Cabinet of Dr. Caligari” has left an indelible mark on horror, thriller, and gothic genres for centuries. Penned by Hans Janowitz and Carl Mayer, who later became pacifists following their World War I experiences, this film appears to narrate the story of Dr. Caligari (Werner Krauss), a hypnotist who manipulates Cesare (Conrad Veidt), a sleepwalker, into committing murders at his behest. The movie’s themes are deeply rooted in the development of gothic style, as they explore the power struggle between Dr. Caligari’s maniacal control and Cesare’s inability to resist, as well as the stark contrast between their roles – the former’s oppressive authority and the latter’s submissive conformity. Furthermore, the film’s visual style, characterized by extreme shadows, contrast, and angles, has significantly impacted numerous films, including “The Crow,” “Dark City,” and “Edward Scissorhands.” After watching it, you can never truly forget its impact.
The Addams Family (1991)
In a unique twist during mid-century, gothic charm emerged. Notable artists Charles Addams and Edward Gorey, though stylistically distinct, both showcased an eerie, humorous oddity in their work. When director Barry Sonnenfeld transformed Addams’s New Yorker cartoons and the two-season sitcom The Addams Family into his 1991 film, he emphasized the dark comedy, assembling a talented cast with exceptional comedic skills: Angelica Huston, Raul Julia, Christopher Lloyd, and later in the 1993 sequel, Addams Family Values, Carol Kane, David Krumholtz, Christine Baranski, and an unforgettable Joan Cusack. Each actor added a charming quirkiness to this tale about defying societal norms. However, it was Wednesday Addams, played by Christina Ricci, who stole the show in the film and became an icon of dry wit and detached darkness. The characters of Aubrey Plaza and Jenna Ortega owe much to Ricci’s portrayal.
No clothes, just blood
Bold and uninhibited depictions of sexuality and violence, artfully crafted with a provocative and rebellious style using dark themes, vivid visuals, and complex personalities.
Trouble Every Day (2001)
In recent times, we don’t see many films that blend eroticism with thrillers as much as before. However, Claire Denis, known for her rule-breaking style, has delivered one such film that stands out for its raw sexuality, grotesque scenes, and underlying sadness – Trouble Every Day. The movie centers around a woman (Béatrice Dalle) with an insatiable appetite for both sex and flesh, her protective husband (Alex Descas), and another man (Vincent Gallo) who desires to possess her. The film cleverly equates sexual conquest with consumption, growing more literal and shocking as it progresses, using Dalle’s powerful performance to underscore the destructive nature of desire. This core theme of sadness, coupled with its darker elements like violence and dismemberment, places it among the gothic works within the French New Extremity movement, and serves as a precursor to later films such as Luca Guadagnino’s Bones and All.
Doom Generation (1995)
A movie similar to “Trouble Every Day” or “Night of the Demons”, which plays with the boundary between good and bad taste, is Gregg Araki’s “The Doom Generation”. This film could be described as if “Showgirls”, “Thelma & Louise”, and “Lost Highway” had been processed through a WB teen drama machine. It’s a cinematic gem within the realm of queer cinema, challenging numerous white-suburban-American norms such as heterosexuality, monogamy, respect for authority figures or the American flag. However, it ultimately depicts a brutal attack that underscores how oppressive and violent the current system can be. Prior to this event, “The Doom Generation” resembles (as Araki himself stated) “a Jesus and Mary Chain song”, a narrative of nihilism and romance reminiscent of many other goth classics. Lastly, Rose McGowan’s hairstyle in the movie is quite impressive.
Return of the Living Dead 3 (1993)
In an amusing blend of horror classics, the films “Bride of Frankenstein” and “Re-Animator” collide in a splendidly campy fashion. Two mischievous individuals find themselves entangled in a romantic tale, but when the girl tragically perishes, she returns as a zombie. The boy then embarks on a quest to shield her from those determined to capture her, all while navigating the challenges of their unusual relationship. To put it humorously, one might say this is your typical romantic comedy, albeit with an unexpected twist!
The Hunger (1983)
David Bowie, Catherine Deneuve, and Susan Sarandon are captivating in the erotic horror film titled “The Hunger“. Upon its release, it faced criticism due to numerous explicit scenes, but it’s heartbreaking in the way it portrays the relentless passage of time. Isn’t it intriguing that Bowie played a seductive vampire in this film, which came out three years before “Labyrinth“? Kudos to Tony Scott for his directorial debut as he provided us with this lasting image of allure.
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2024-08-21 17:55