distaff characters are prominent in scarey movies , and not always as lost victim . opine about the Final Girl , without whom slasher films would not survive , or other kick - fuck heroine , like Alien ’s Ripley . Behind the camera , though , you ’ll find way more male writer and theater director — which is why these horror moving-picture show directed by char are suitable of redundant festivity .
1) American Psycho, directed by Mary Harron
Director Harron ( I frivol away Andy Warhol ) and Guinevere Turner Centennial State - compose the script , adapt from Bret Easton Ellis ’ satirical good - marketer about a materialistic , appearance - obsessed , sequential - vote out yuppie . Christian Bale ’s note of hand - perfect titular turn forever distanced him from his child - star outset , and Harron ’s movie — fashionable and imposingly grisly , while still emphasizing the source stuff ’s razor - precipitous , pitch - shameful bodily fluid — continue to be influential in so many ways . Where would Mr. Robot ’s ruthless , impeccably - dressed , rage - filled Tyrell Wellick be without Patrick Bateman ?
2) The Babadook, directed by Jennifer Kent
Aussie filmmaker Kent also write this torturing tale of a widow woman ( Essie Davis ) who ’s struggling with raising her rumbustious Logos alone . thing get fashion worse when a foreign creature emerges from the pages of a kid ’s Word to bring in further torment to their lives — but this is no simplistic monster level . The Babadook can be unmanageable to watch , but it ’s masterfully make and acted , and the closing pop the question a Brobdingnagian takings .
3) Blood Diner, directed by Jackie Kong
This outstandingly weird horror comedy from 1987 is an unofficial continuation to gory drive - in classical Blood Feast . But Kong ’s ultra low - budget story of two brother who become obsessed with gathering body parts as part of a rite to resurrect an ancient goddess has since realise its own furore following , with good reason . To that ending , Blood Diner is part of a fistful of using picture to get a recent , blinged - out Blu - electron beam passing as part of the raw Vestron Video Collector ’s Series .
4) Buffy the Vampire Slayer, directed by Fran Rubel Kuzui
Back in 1992 , well before Buffy became a hit boob tube series , it was a flick written by an up - and - coming talent named Joss Whedon , whose script wasdiscovered and developedby director Kuzui . The Sarah Michelle Gellar show has since shadow the Kristy Swanson movie , but the latter ’s not without its own appeal . The winning cast include Donald Sutherland , Rutger Hauer , Hilary Swank , and — not long after his controversial stay — Paul “ Pee - wee Herman ” Reubens .
5 and 6) Carrie, directed by Kimberly Peirce, and The Rage: Carrie 2, directed by Katt Shea
Neither the 2013 Carrie remake , nor the original ’s apparent 1999 sequel , made as much of an encroachment as Brian De Palma ’s 1976 classic . But it makes mother wit that women would be interested in further exploring the storey of a teenage misfit who unleashes some tremendously alarming telekinetic world power against her cruel classmates and her even crueler female parent . The ultimate daughter power , really .
7) Freddy’s Dead: The Final Nightmare, directed by Rachel Talalay
The task of directing the sixth Nightmare on Elm Street film , in which we meet Freddy ’s daughter and journey into the Son of a Hundred Maniacs ’ mind via the illusion of 3D , went to Rachel Talalay in 1991 . She ’d ferment on two previous Elm Street films as a manufacturer , but Freddy ’s Dead was her directorial debut . Her experience on the motion picture led off a 1991 New York Times article with the cheery title , “ Are Women Directors an Endangered Species ? ” :
When it come time to hire a director for “ Nightmare on Elm Street 6″ a few calendar month ago , Rachel Talalay was a logical choice . She had , after all , produced Parts 3 and 4 of the gory saga of Freddy Krueger , and they turn out to be the two most successful moving-picture show in the teen repulsion serial publication . But once she actually start work on the project , Ms. Talalay call in , she “ would once in a while get internal memos telling me , ‘ Do n’t be too girly ; do n’t be too sensitive . ’ ”
originally this class , she was profiled byEntertainment Weekly , which write :
[ Freddy ’s Dead ] grossed an telling $ 35 million but did not prove to be the career launch pad she expect . “ come up off the Nightmare on Elm Street picture , the three directors before me all went on to huge action films , ” she says . “ I was n’t give the same chance , and I feel that was absolutely to do with my gender . ” In fact , the director of the fourth Freddy movie , Renny Harlin , run on to engineer the extravagantly budgeted Die Hard 2 , while her immediate predecessor in the managing director ’s chair , Stephen Hopkins , was hired to make Predator 2 . Talalay ’s next film , meanwhile , was the obscure sci - fi thriller wraith in the motorcar .
She later went on to make Tank Girl , which flop upon release but is now a religious cult classic , and direct loads of TV episodes , include Doctor Who and Sherlock . She ’s still the only woman to helm any photographic film in any of the major slasher motion-picture show dealership .
8) A Girl Walks Home Alone at Night, directed by Ana Lily Amirpour
peradventure the most unusual moving-picture show on this leaning , 2014 indie darling A Girl crosses a mickle of cinematic boundaries . It ’s shot in black - and - white , it ’s a spaghetti westerly , it ’s a vampire movie , it ’s a romance , it ’s a California - made moving picture separate in a foreign language ( Persian ) , it ’s a moody feminist tale with a killer soundtrack . And yet somehow , remarkably , it all work .
9) Humanoids from the Deep, directed by Barbara Peeters
( Warning : The prevue is NSFW . ) A rare female Roger Corman protegé , Peeters retains deferred payment on this gleefully tinny ‘ 80s exploitation classic , though the film ’s controversial monster - on - human - woman colza scenes werethe product of re - shoots done by a male director after Peeters refuse ( she was raise for her objection ) .
10) Jennifer’s Body, directed by Karyn Kusama
Kusama , who ’d made Girlfight and Aeon Flux , helmed this gamey - school revulsion tale about a cheerleader who is unwittingly transubstantiate into a unholy succuba . The film was released in 2009 to mellow expectations , since its playscript was the first since writer Diablo Cody ’s Oscar win for Juno , and it starred Transformers sex kitten Megan Fox . It did n’t exactly set the world on fervor back in 2009 , but Jennifer ’s Body is impudent and uncanny enough to point it toward eventual cult - classic enshrinement .
11) Near Dark, directed by Kathryn Bigelow
In 2009 , Bigelow became the first ( and so far , only ) woman to bring home the bacon an Oscar for Best Director , when The Hurt Locker take the top dirty money — scoop her former husband James Cameron ’s Avatar . But in 1987 , years before Bigelow made The Hurt Locker , Strange Days , or even Point Break , she directed Near Dark , which features multiple actors who had also appeared in Cameron ’s Aliens the year prior . A violently gorgeous picture , Near Dark , which Bigelow co - write with Eric Red , may well be the dandy lamia - biker - Western ever . It also has one of repulsion ’s most cult - revered soundtrack , good manners of Tangerine Dream ’s moody synthesiser .
12) A Night to Dismember, directed by Doris Wishman
victimization goddess and John Waters favorite Wishman ’s bequest include sex - ploitation classics Nude on the Moon ( precisely what it sounds like ) and doubled Agent 73 ( the issue in the title pertain to its lead actress ’ telling flop measurement ) . One of her last motion picture was this 1983 splattering quirkiness boast a porn champion in the lead ; it took year of stop - and - start shooting to complete and gain very little sensory faculty , and was never stagily release . Naturally , it is now a towering furor classic , as theAV Clubwrote in the land site ’s videodisc review :
Between the artful nature scenes , the despicable Department of the Interior , and the kitchen - sump soundtrack , A Night To Dismember could almost be an avant - garde Guy Maddin homage to wincingly awe-inspiring cinema . rather , it ’s likely sheer coincidence that A Night To Dismember has become its own entity , a convoluted exercise in viewer survival that perfectly evokes its title .
13) Office Killer, directed by Cindy Sherman
After she ’s downsize to employment - at - home status , a dowdy copyeditor ( Carol Kane ) offs one of her carbon monoxide - doer , then sorta accidentally becomes a serial murderer . Artist Sherman pull ahead a MacArthur “ Genius Grant ” in 1995 ; two years later , she made this somewhat spotty repulsion comedy that is best select into linguistic context as part of her career as a whole . Asthe New York Times reviewernoted , “ the moving-picture show itself is almost a Sherman retrospective , ” with optical recall to the picture that work her far-flung acclaim .
https://www.youtube.com/watch?v=v3T5-8E4XYM
14) Organ, directed by Kei Fujiwara
Japanese movie maker Fujiwara ( asterisk of religious cult - beloved cyberpunk tale Tetsuo : The Iron Man ) also wrote , produced , and co - stars in this black , gory tale of organ thieves .
15) Pet Sematary, directed by Mary Lambert
Lambert would already have an impressive pop - culture legacy even if she had no stake in revulsion ; she was a go - to medicine picture music director in MTV ’s heyday , helm iconic clips for Janet Jackson ( “ Nasty , ” “ Control ” ) and Madonna ( “ boundary line , ” “ Like a Virgin , ” “ Like a Prayer ” ) , among many others . Fortunately , though , she also made this genuinely eerie Stephen King adjustment — featuringone of the most alarming kiddie maniacsin all of horror - dom — as well as its 1992 subsequence .
16) Ravenous, directed by Antonia Bird
Afterthe original ( male ) directorof this frontier - set fatal comedy left the production , star Robert Carlyle recommended Bird for the gig . A bumpy start , but the wild oddment result is a classic of the cannibal genre .
17) The Slumber Party Massacre, directed by Amy Holden Jones
Novelist Rita Mae Brown ( Rubyfruit Jungle ) wrote the screenplay for this slasher classic , which you would not acknowledge had any feminist leanings ( or a killer common sense of humor ) by simply reading the title or ogling the phallic poster artwork . The two Slumber Party Massacre sequel were also written and directed by woman ; Deborah Brock on 1987 ’s Part II , and Sally Mattison , with scripter Catherine Cyran , on 1990 ’s Part III .
18) Sorority House Massacre, directed by Carol Frank
Frank was a directorial help on The Slumber Party Massacre , and ended up writing and directing her own slasher massacre a few years later . in 1986It ’s not as surprising as Slumber Party , but it certainly delivers on its claim .
19) Trouble Every Day, directed by Claire Denis
Acclaimed art - house director Denis ( Beau travail , White Material ) made this erotic and delicately gruesome horror movie with Vincent Gallo in 2001 , at the height of his fame ( between Buffalo ‘ 66 and The Brown Bunny ) . He play a newlywed who just ca n’t leave alone his aphrodisiacal ex alone … or set aside his thirst for human bloodline .
https://www.youtube.com/watch?v=W6vKcb2eofY
20) The Velvet Vampire, directed by Stephanie Rothman
Rothman , another Corman discovery , is probably best - cognise for 1970 ’s The Student Nurses , which equilibrate feminist movement and using with incredible adroitness . But 1971 ’s The Velvet Vampire , starring the glamourous Celeste Yarnell as the nominal seducer , is not without its own magic spell . In a 2007 interview , Rothman — whose experience with Corman seems to have been overall very positive — reflected on what it was like work within the exploitation musical genre .
I was never happy micturate using films . I did it because it was the only room I could work . While I do not object to violence or nakedness in rule , the reason consultation came to see these low - budget motion picture without stars was because they delivered scenes that you could not see in major studio films or more supposedly ambitious independent American films . ( Today , of trend , you’re able to see these scene and more , but we are talking about standards running in the mid - nineteen 60 to seventies when I was working . ) Exploitation motion picture call for multiple nude panorama and primitive , frequent violence . My conflict was to seek to dramatically apologise such prospect and to make them transgressive , but not abhorrent . I tried to control this through the style in which I shot scene . That was one of my greatest pleasures , determining how my style of shooting could enhance the content of a scene .
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