As a woman who has spent many years navigating the often tumultuous world of filmmaking, I find myself deeply moved by the powerful and poignant narratives that have emerged this year in the horror genre. The way these stories tackle issues of bodily autonomy, reproductive rights, and gender dynamics is nothing short of inspiring.
SPOILER WARNING: The following discussion includes spoilers for the stories/movies “The Girl With the Needle,” “Immaculate,” “The First Omen,” “Apartment 7A,” “Alien: Romulus,” “The Devil’s Bath,” “Beetlejuice Beetlejuice,” and “Cuckoo.” Proceed with caution if you have not yet seen or read these works.
In ‘The Girl With the Needle,’ one of the most unsettling moments from this year’s cinema unfolds, portraying a woman in Denmark during the early 1900s attempting an abortion with a needle in a public bath. What makes this scene particularly chilling is that for numerous contemporary filmgoers, the access to safe abortions remains as elusive as it does for these period characters.
The film titled ‘Needle,’ set for a U.S. theater release on Friday by Mubi, is a recent addition to the lineup of 2024 horror movies that directly tackle women’s reproductive rights. This isn’t surprising, considering the overturning of the constitutional right to abortion in Roe v. Wade case, which occurred in 2022. The decision, stemming from Dobbs v. Jackson Women’s Health Organization, was met with widespread opposition and polls indicating that most Americans disagree with restrictions on abortion access.
The film “Needle” narrates the somber tale of Dagmar, a woman who facilitated adoptions for mothers unable to care for their infants, only to discover that these children’s lives took a much grimmer turn. Despite this grim twist, Vic Carmen Sonne, portraying Karoline, the friend and unwitting partner of the antagonist in the movie, was struck by the profound impact it had on modern audiences in Poland, where abortion is severely limited and medical professionals can face penalties for non-compliance.
Despite the fact that these rights are still contested or unattainable for many women, Sonne aimed to give Karoline a contemporary feel, even within a black-and-white period setting – something she successfully managed by incorporating playlists with artists ranging from Metallica to Rihanna.
Regarding her art, Sonne expressed a strong desire to modernize her subject matter. She explains, ‘The story’s gravity and black-and-white aesthetic were crucial, but I sought to delve deeper, not just portraying the period or circumstances, but rather creating a fully rounded, three-dimensional human being – a 360-degree character.’
Magnus von Horn, the director and co-writer of “Needle,” expressed concern that this chilling historical tale appears so strikingly relevant today.
As a movie critic, I was taken aback by how effortlessly contemporary audiences seemed to relate to this film. Frankly, it gives me a mix of feelings – joy, yes, because it sparks conversations, but also unease, as these discussions often revolve around deeply troubling themes.
As a cinema enthusiast, it’s evident that this year has seen a surge of horror movies delving into profound social commentary, a genre notorious for its thought-provoking narratives. What makes this year unique is that most of the productions were filmed post-the overturning of Roe v. Wade, a landmark decision that has undeniably left its mark on our collective consciousness.
Michael Mohan, the director behind “Immaculate” featuring Sydney Sweeney, was thrilled to lead a horror film with a meaningful theme. In “Immaculate,” we follow Sister Cecilia (Sweeney), a young American nun, as she journeys to Italy for convent work. However, things take an unexpected turn when she finds herself pregnant. The men of the church describe this as an immaculate conception. But, instead, she uncovers a sinister plot by the church, where they artificially inseminate her using DNA from a crucifixion nail, aiming to birth a new messiah.
Instead of focusing on the controversial twist involving Cecilia giving birth and then killing the child, which powerfully portrays a woman’s struggle against male control over her reproductive rights, Mohan chose not to discuss this topic with the media prior to the movie’s release.
Mohan expressed, “I believe nobody intends to watch a movie for a sermon, but rather for entertainment, thrill, or exploration of unconventional themes. If I were to reveal my film’s purpose, it might lose its impact on the viewers, as they wouldn’t be able to draw their own conclusions. I simply wanted people to know that this is an exceptional horror movie and they should give it a watch. This way, we could attract those who might not have considered watching it otherwise, if they weren’t aware that it carries a deeper meaning.
As a cinema enthusiast, I’d like to express my admiration for films that tackle thought-provoking themes, particularly those focusing on women’s issues in mainstream horror productions. This cinematic choice resonates deeply with me, reminding me of my mother who bravely stood up against intolerance by leading our family away from our small-town church when the preacher delivered a sermon advocating for views she strongly disagreed with.
Mohan explains that she found it fascinating that the woman in the story deeply believed in God yet had never questioned her stance on abortion, as these views did not conflict with each other for her. This character, who was so devoted and unwavering in her belief system, intrigued Mohan the most. To capture the emotions this character evoked, she aimed to express the feelings that her mother imparted upon them.
Arkasha Stevenson, in collaboration with others, both wrote and directed the movie “The First Omen” this year. This film follows a devout young woman, portrayed by Nell Tiger Free, who discovers herself unexpectedly pregnant. The mysterious forces within the church are believed to be responsible for this predicament. As a prequel to the 1976 horror masterpiece “The Omen,” Arkasha sought to address contemporary societal concerns, such as personal freedom and autonomy, much like the original film tackled such issues in its time.
In an interview with EbMaster during the “First Omen” promotional period, she explained that they aimed to update the narrative by addressing current, relevant topics. However, she emphasized the importance of avoiding political affiliations in a beloved franchise. She also noted that it’s crucial not to be overly didactic. They were mindful of maintaining the film’s central theme. As a fan of “The Omen,” her main curiosity was understanding Damien’s origin. This led naturally to discussions about birth, potentially forced reproduction, and even sexual assault. By focusing on horror from a female perspective, they found it fitting to delve into these issues.
Demonstrating that some aspects of the movie world aren’t yet fully accepting of female forms, the main challenge this violent film faced in obtaining an R rating involved removing a genuine portrayal of a maternity ward from the final cut.
Smith stated, “Our film received an NC-17 rating due to scenes involving female anatomy. Removal of these images was suggested before the graphic body horror scenes took place. It’s intriguing that we initially proposed this scene, and it held significant importance during production and editing. We were anxious about its preservation throughout the process, but it was the MPAA who almost jeopardized its inclusion. Fortunately, we managed to keep it in the final cut.
In 2024, a recurring theme emerged in various films. For instance, “The Devil’s Bath” starts with a woman tossing her child over a waterfall, followed by an exploration of societal and religious perceptions towards women’s bodily autonomy. Similarly, the film “Alien: Romulus” introduces a pregnant protagonist who ends up giving birth to a monstrous half-human, half-alien entity that forces its way into her body. Interestingly, this theme is mirrored in the horror-comedy “Beetlejuice Beetlejuice,” where both Winona Ryder and Jenna Ortega’s characters experience disturbing sequences in which they unwillingly give birth to a Beetlejuice offspring. Other films like “The Substance” and “Blink Twice” also touch upon this theme, though not necessarily focusing on pregnancy, but instead addressing the control men and society hold over women’s choices.
Mary Beth McAndrews, who serves as editor-in-chief at Dread Central, a renowned horror movie news platform, and also an experienced critic known for discussing the representation of women in horror films, opines that this genre offers an excellent platform to address significant issues.
She explains that this location serves as a platform for making complex issues more accessible and easier to grasp. Horror, she points out, is often associated with very specific scenarios like killings in the woods. However, a significant aspect of horror is using its elements to express political viewpoints and explore themes like monstrosity and fear. Writers and filmmakers can use these fears to create unique narratives, reflecting those fears back at us in a way that enables people to process and understand them differently. This fresh perspective might help us gain new insights about the world.
The subversion of societal norms has been a recurring theme in the horror genre for quite some time now. Early classics such as “Frankenstein” (1931) and “Cat People” (1942) were brimming with undertones that resonated deeply with attentive audiences, who picked up on their queer energy. In the late 60s, films featuring women grappling with motherhood in unexpected ways started appearing on screens. Despite genre films not being widely recognized or valued in academic circles at the time and receiving mixed reviews from critics, they still managed to draw large crowds and leave a lasting impact on our culture.
Professor Ashley S. Brandon, an expert in filmmaking and horror movies who educates on this subject at Quinnipiac University, argues that a new phase began with Roman Polanski’s 1968 movie “Rosemary’s Baby.” Although it can be challenging to separate Polanski’s actual criminal actions from his work, the film, in which Mia Farrow is unwillingly impregnated by a satanic cult with the Antichrist, represents a significant turning point in feminist horror cinema.
Brandon points out that the themes become increasingly prominent and hard to ignore,” he explains. “The story revolves around a woman who is significantly influenced by men.
After that, a similar situation to this current year can be drawn with the 1974 horror movie “Black Christmas,” which came out shortly following the 1973 Roe v. Wade decision – appearing to engage directly with the court verdict.
Brandon mentions there’s a character named Jess who is introduced at the start. She’s well-educated, self-reliant, and expecting a child. She’s contemplating having an abortion, but her partner strongly opposes this decision,” (paraphrased sentence)
In the ’80s, Brandon views as a distinctive juncture for horror, marked by an abundance of slasher movies that lacked depth compared to other periods. Surprisingly, this era was intellectually fruitful, with scholars scrutinizing earlier decades and highlighting the groundbreaking aspects of films like “Night of the Living Dead” (1968) and “Rosemary’s Baby.” The term “final girl,” which refers to the common pattern where the sole survivor in a slasher film is often a well-behaved young woman who ultimately leads to the male killer’s downfall, was also coined during this time.
Over the past ten years, there’s been a powerful resurgence in horror movies that tackle social issues, often referred to as “elevated horror.” These movies have gained both critical and commercial success, making them must-see films for movie enthusiasts. Notable examples include “The Babadook” from 2014 and “Get Out” from 2017, as well as the culturally significant horror films produced by A24.
Brandon points out that with the movie ‘Get Out,’ horror movies seemed to be discussing and debating topics beyond just being scary or showing a violent act. For many viewers, this film served as an eye-opening moment, realizing that horror can mirror their emotions and societal issues. In simpler terms, he suggests that ‘Get Out’ was more than just a jump scare; it was a powerful reflection of society.
The focus of horror stories on the theme of personal bodily rights arrives at an opportune moment, as narrative art is now presenting reproductive liberties in an unbiased manner rather than imposing moral judgments.
For numerous years, when anyone encountered an unplanned pregnancy, it often led to a tragic outcome – a miscarriage or death. They were frequently stigmatized and judged for their situation,” explains Caren Spruch, the head of arts and entertainment engagement at Planned Parenthood Federation of America and Planned Parenthood Action Fund.
Spruch developed her position within Planned Parenthood hoping to make a positive impact on how storytellers portrayed abortion in their stories. She’s now a go-to resource for filmmakers hoping to show this healthcare access accurately and compassionately, and has worked on films such as 2014’s “Obvious Child” and 2020’s “Never Rarely Sometimes Always” to achieve that goal.
Now that Roe v. Wade has been overturned, Spruch notes that healthcare providers offering abortion services live with a sense of apprehension or anxiety.
She expresses that the situation is completely unpredictable, with new developments occurring daily. It’s uncertain what actions are permissible or not, causing fear among doctors who worry about being apprehended. Consequently, some medical professionals are leaving. Therefore, this turbulent scenario needs to be documented visually.
Fundamentally, Spruch believes that horror movies addressing the theme of personal control over one’s body are crucial, and aspires for other film genres to similarly highlight this subject matter.
She’s not surprised that contemporary horror movies tackle these specific themes because approximately 28 million individuals in the reproductive age group, along with many trans and nonbinary people, living in 21 states have lost or are losing access to abortion. She describes this as a true source of horror. She argues that all genres, particularly horror, should portray these issues accurately and sensitively. Horror films, she explains, reflect our deepest fears about the real world, and they can motivate us to take action, giving us more control over our lives. Since not everyone appreciates every genre, she believes it’s important for all genres to feature such narratives.
Looking ahead, it’s challenging to predict the evolution of feminist themes in horror movies due to their penchant for mystery and unexpected plot twists. However, there appears to be an exciting potential for 2025, with several promising releases. Drew Hancock’s thriller “Companion,” slated for January, tackles modern concerns such as toxic masculinity and women’s autonomy. Furthermore, Maggie Gyllenhaal’s “The Bride!” and Lynne Ramsay’s “Die, My Love” seem primed to explore complex themes related to gender dynamics. The former is a reimagining of “Bride of Frankenstein,” while the latter stars Jennifer Lawrence as a woman struggling with mental health issues in her marriage.
According to Spruch, there’s a stack of scripts on her desk containing debates about a certain subject. However, she’s worried that quite a few of these may not be brought to life.
She points out that while many scripts discuss the effects of limitations and accept abortion, the creators are still struggling to distribute their work. In her opinion, these artists are expressing their anger over their own struggles through their art, but they’re encountering difficulties in getting their projects distributed.
As a movie enthusiast, I can’t help but feel stirred up by the latest political events. With the recent reelection of Donald Trump, who boasts about his potential impact on overturning Roe v. Wade, I believe a fresh wave of filmmakers will find inspiration in this righteous indignation. This emotional turmoil might fuel their creative endeavors and manifest itself in their artistic expressions.
McAndrews, who is gearing up for the release of his first directorial project, the controversial rape-revenge film “Bystanders” in the coming year, believes that this year’s cinematic offerings may serve as a catalyst for further debate and conversation.
McAndrews remarks that one of the fantastic aspects of this year is the lack of subtleties. Many female directors are expressing, “I’m no longer aiming for subtlety; I want to make a bold statement, to hit you hard with it.” While subtlety has its place, in today’s world where we are striving to be heard, subtlety is not the way forward.
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2024-12-05 19:53