Mad Women: Grief, Familial Trauma, and Female Rage in Folk Horror

Abstract

The film distribution company A24 has produced and distributed several unique films within the folk horror genre. The Witch (2016, dir. Robert Eggers), Midsommar (2019, dir. Ari Aster), and Hereditary (2018, dir. Ari Aster) are examples of contemporary folk horror films that utilize familial trauma as a precursor to the female protagonist’s descent to madness. The elements of folk horror amplify the feelings of isolation and loss of reality, which appear during extreme reactions to grief and trauma. Each protagonist is the eldest or sole daughter within the family structures, extending extra expectations within these roles. These expectations contribute to each protagonist’s descent into madness as they are given to others relentlessly with nothing in return. The element of social cohesion serves to direct the actions of those most vulnerable, specifically vulnerability caused by grief, which creates a loss of familiarity and shattered reality. Examining these protagonists within these three folk horror films exemplifies the harmful nature of expectation and how it draws women into madness. Madness is not simply anger but a culmination of emotions that lead to a drastic loss of self. This thesis serves to use gender theory, trauma theory, and formal analysis of the films to demonstrate the self-destructive burden of keeping a family together during a crisis.