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Bloody Women is a horror film journal platforming writing on horror cinema, TV and culture by women and non-binary writers.
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Curated horror treats for your inbox.
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Who's Jennifer and who's Needy?
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A huge thanks to everyone who joined us for our Bloody Galentine's Day watchalong of Jennifer's Body. We had the best time lusting after evil Seth Cohen. So much so, we are looking at titles for our next events.
So, if you've got a suggestion for some communal horror watching, drop us an email or DM and we'll see what we can do! Afterall, horror is best served with company, right?
Stay safe, stay spooky.
x The Final Girls
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A Woman Stuck: Get Out or Die Trying
by Jessica Cullen
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It’s not hard to imagine how it feels to be trapped. We’ve spent almost a year in lockdown, stuck within the walls of our homes. For most, it’s something we know will eventually end – a task to wait out. For others, it feels like an endless purgatory. Either way, we know that the feeling of being confined in a particular place or state is one of the most frustrating and anxiety-inducing positions to be in.
Horror loves to place its characters in confined and terrifyingly restrictive situations. I can’t help but notice that women seem to be the ones most notably trapped, having to fight their way out of their physical, and often psychological, entrapment.
Host (2020), which released on Shudder during lockdown, is one such example. Set over Zoom, the film follows a group of friends haunted by a malevolent spirit as they hold a virtual séance. Granted, we haven’t all been stalked by a ghostly presence during our calls, but most of us know how it feels to be trapped by a merciless slew of Zoom chats - at least an evil spirit would be a way to liven things up. Host traps us cinematically, not breaking from the visual confines of the familiar squares on the screen, making us feel as if we’re part of the group.
But whether it’s onscreen or IRL, women in horror are twice constrained: at first, formally by the physical conceit of the film, and then, as the narrative reveals, by some internal, emotional prison. Some make it out alone, few make it out together, and some die trying, but all show the torment of being trapped.
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A wild double-bill of 90s indie vampire movies
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Part of our new series devoted to exploring the vampire in horror cinema, we discuss two odd vampire gems from the nineties that sit between horror and arthouse.
First up, Guillermo del Toro's debut feature Cronos (1993), a timeless vampire film that never actually uses the 'vampire' word. And we go peak nineties indie with Nadja (1994), which features an amazing soundtrack, cast and bonus cameo from executive producer David Lynch.
Joining us in this episode is Zena Dixon, Editor-in-Chief of Real Queen of Horror, to discuss these two oddball vampire gems.
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Celebrating the horror fiction and essays that we've got on our shelves.
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Night Film
(written by Marisha Pessl)
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On a damp October night, 24-year-old Ashley Cordova is found dead in an abandoned warehouse in lower Manhattan. Though her death is ruled a suicide, veteran investigative journalist Scott McGrath suspects otherwise. As he probes the strange circumstances surrounding Ashley's life and death, McGrath comes face-to-face with the legacy of her father: the legendary, reclusive cult-horror film director Stanislaus Cordova--a man who hasn't been seen in public for more than thirty years.
For McGrath, another death connected to this seemingly cursed family dynasty seems more than just a coincidence. Though much has been written about Cordova's dark and unsettling films, very little is known about the man himself.
Driven by revenge, curiosity, and a need for the truth, McGrath, with the aid of two strangers, is drawn deeper and deeper into Cordova's eerie, hypnotic world. The last time he got close to exposing the director, McGrath lost his marriage and his career. This time he might lose even more.
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Thank you so, so much to everyone who's been to our screenings, talks, events, listened to our podcast or read our articles. If you are able to support us on Patreon, we'd truly and deeply appreciate it.
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The Final Girls is a film collective exploring feminist themes in horror cinema.
We curate films, publish a film journal, host events and produce a podcast.
Support us on Patreon to access exclusive content.
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