In a media landscape where women often lack adequate representation, horror is unique in its focus on female protagonists — though not without controversy. Horror films have been known to dehumanize female characters, reduce women to victims and punish expressions of sexuality. Frequently, slasher films such as “The Texas Chainsaw Massacre” (1974) and “A Nightmare on Elm Street” (1984) are quick to kill off women depicted as sexually active, contrasting with more celibate women’s survival. Wrapped in this discussion is the common trope of the “final girl,” a term coined by Carol J. Clover to describe an innocent yet intelligent girl who confronts the killer and survives against all odds. For example, Laurie Strode in “Halloween” (1978) is a bookish teenage babysitter who manages to survive a serial killer, while her two best friends, who play hooky with their boyfriends, meet grisly ends. Films like these raise a critical question: Do horror movies capitalize on women’s pain and fear while replicating oppressive patriarchal norms? It’s essential to consider how trauma and empowerment interact in a genre that frequently confronts women with the worst of humanity.
Despite some problematic portrayals, horror movies can be avenues for empowerment — they momentarily force audiences into women’s shoes. Yes, female fear, tragedy and vulnerability are on full display, but so are female strength, agency and resilience. The innocent “final girl” can evolve into a woman with grit, unashamed of her choices and driven to survive. Samara Weaving’s portrayal of Grace in the 2019 film “Ready or Not” exemplifies this: Grace quickly transforms from naive bride to shotgun-wielding survivor after her in-laws attempt to sacrifice her. She ultimately stumbles out of a burning mansion and lights a cigarette in defiance of her potential victimhood, her wedding dress soaked in blood.
More recent horror films offer even more nuanced representations of women beyond the innocent, young “final girl.” In “Bird Box” (2018) and “Us” (2019), Sandra Bullock and Lupita Nyong’o embody the ferocity of maternal instinct as leaders who step up to safeguard their families in dystopian situations. Their resilience is heightened by the rawness of their own fear, allowing women’s vulnerability and courage to coexist on the big screen. Furthermore, “The Menu” (2022) serves as a sardonic critique of privilege and class. Anya Taylor-Joy stars as Margot, a working-class sex worker who stands out among the wealthy elite dining at a remote restaurant. Her grit and authenticity keep her alive as the other patrons are picked off one by one by the head chef as punishment for their lavish hedonism.
While often seen as a reflection of the evils in the world, horror can also serve as a feminist reckoning. It confronts the most fundamental aspects of humanity — fear, rage and sexuality — while critiquing patriarchy and repression. Modern horror continues to push boundaries, integrating discussions of racism and classism because representation can never be one-size-fits-all. As these films shift in complexity, they not only oppose the status quo but also mirror the evolution of how we think about gender and culture today. Ultimately, horror is more than just “final girls” making it through the night — it’s a genre with the potential to flip the script in the morning.
Kaavya Saini is incapable of watching horror movies without her three roommates in the room with her for emotional support.