Ahead of Mike Flanagan’s Netflix series The Fall of the House of Usher, let’s look back at the horror director’s excellent female characters.
Mike Flanagan has a magical touch. Thanks to his intuitive understanding of the genre's workings, his profound utilization of said techniques, and his ability to craft compellingly humanistic characters, the writer-director's creations hardly miss. Like the best horror, Mike Flanagan terrifies us because we care, and we care because he unflinchingly plumbs the depths of relatable human psychology.
Given the genre's requirements, these women are frequently imperiled. Thankfully, Flanagan's touch is a delicate one, extracting Olympic-level performances from his actors and emphasizing emotion in the edit without lingering on a woman's pain or sexualizing it. The pain exists, undoubtedly; that's the catharsis of horror, seeing how women combat existential terrors, supernatural beasts, serial killers, and body horror, yet they emerge intact.
‘Gerald’s Game’ Is an Exercise in Empathy If Hush deals with womanhood in implicit terms, Gerald's Game is as explicit as they come. Flanagan peels back the layers of Jessie Burlingame's heartbreaking interiority with a brutal yet tangible tenderness. After her husband Gerald's death during a sexual misadventure that leaves Jessie handcuffed to the bed, she hallucinates from a combination of terror, grief, and lack of food and water.
'Ouija' and 'Oculus' Let Women Take the Lead In contrast, Ouija: Origin of Evil and Oculus occupy the tragic side of Mike Flanagan's oeuvre. Origin of Evil might ostensibly be a prequel to Blumhouse Production's film Ouija, but it populates a period piece about an evil board game with multifaceted women. Male characters? Nah, they're secondary love interests.
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