There’s a curious dichotomy within slasher movies, a subgenre that both punishes and rewards its female characters. While many of the women are being slaughtered, in variously graphic ways, a storied tradition of “final girls” are being empowered, surviving and ultimately triumphing over masked killers. At times, there has even been room for knife-edge commentary on the extreme dangers of misogyny and slut-shaming, most memorably in the crowd-pleasing finale of Scream where two women bring down a pair of murderous incels. But there remains an understandably conflicted relationship between gender and slashers which makes the arrival of one aiming to do something with this seem like an enticing proposition. The behemoth-like production company that is Blumhouse, behind hits such as Get Out, The Purge, Happy Death Day, Split and last year’s Halloween revival, has come under fire for its lack of female directors, a fact made even worse by head honcho Jason Blum’s ill-advised comments last year. “There are not a lot of female directors, period, and even less who are inclined to do horror,” he said before swiftly being reminded that yes, women do like horror films too. Soon after, he hired rising indie actor-director Sophia Takal for an… Read full this story
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