“The Fog”: Women in Classic Horror
The Fog follows more of a 1950s creature feature plot than a late-70s slasher with three legendary scream queens.

Italy in the early 1930s. To the elderly aristocrat Gerard, all that is left of Leonora, the love of his life, are a number of erotic tape recordings. She led a double life as respectable wife and mother of two, and as a whore at the local brothel. Now, after her death, her children Ursula and Edmund pass under the tutelage of Gerard. Having not seen them for many years, he is utterly bewildered by Ursula's uncanny likeness to her mother. While Gerard's mistress Fiorella takes care of Edmund's sexual needs, Ursula follows the last instructions of her mother. In the process, she uses the legacy of her mother's recordings to get into the mindset of her relationship with Gerard. Is Gerard ready to find his lost love Leonora again... in the likeness of her very daughter?
The Fog follows more of a 1950s creature feature plot than a late-70s slasher with three legendary scream queens.
A consumed-by-rage woman travels from universe to universe to avenge the death of her daughter by brutally killing her murderer over and over again. And that's all that she does.
The director's latest is a dreamlike exploration of a consciousness torn between two homelands, and the implications of history and memory suspended in limbo.
Taika Waititi writes, directs and co-stars in 'Boy', set in 1984 New Zealand. The film does just what Waititi dreamed of — it gave a great coming-of-age story to Māori people without making a story of the Māori people as an exotic other.
'Motherless Brooklyn' is a 1950s whodunit made by its star, Edward Norton. Like most detective films in this setting, the cast is mostly white males (with a few notable exceptions).
Essentially 'Get Out' but for white women, 'Don't Worry Darling' has strong material with its twist reveal, but the writing and directing falter trying to execute it.