Lizzie Wright, a Postgraduate Researcher in the School of English at the University of Leeds, has no professional or financial ties with any company or organization that could benefit from this article, aside from her academic position. The University of Leeds supports The Conversation UK as a founding partner. Note: This article contains spoilers for the horror film Abigail.
The film Abigail aims to offer a new take on the vampire genre, moving away from the traditional male Draculas and the overly sexualized lesbian vampires featured in early 2000s films like Jennifer’s Body. Instead, the protagonist Abigail, portrayed by Alisha Weir, is depicted as a young ballerina, symbolizing childlike innocence. Child vampires are uncommon in cinema, but the success of the recent horror film M3gan, about an evil AI doll resembling an eight-year-old girl, shows that young female villains can be compelling at the box office.
In Abigail, a group of misfit criminals kidnaps a young girl, unaware that she is actually a centuries-old vampire with a tendency to “play with her food” to get what she needs. The cast includes several notable actors: Melissa Barrera from Scream as Joey, a recovering drug addict and medic; Angus Cloud as Dean; Kathryn Newton as the quirky hacker Sammy; and Dan Stevens as former detective Frank. This ensemble comes together in a traditional horror fashion, transforming from strangers to allies.
While the film has potential with its fresh take on popular horror themes, it falters in its outdated portrayal of women. Abigail lacks a clear protagonist, which could have made for a more intriguing story if developed differently. Unfortunately, it falls short, particularly when considering the progress made in the depiction of women in modern horror films like Midsommar and Ready or Not. Melissa Barrera’s portrayal of Joey stands out despite the weak writing, with her character often overshadowed by her maternal instincts rather than being driven by her own motivations and history.
Joey is the only one who objects to hurting Abigail and takes charge when things go awry. Her maternal instincts come to the forefront, highlighted by her previous abandonment of her son. Despite her androgynous nickname and action-oriented demeanor that defy traditional gender roles, the film ultimately ties her value to her motherly behavior, undermining the strength and intellect typically found in “final girls” of the horror genre.
By the climax, when Joey and Abigail band together to confront Frank, who has become a vampire, there’s a glimpse of feminist empowerment. However, this is quickly undercut by the arrival of Abigail’s vampire father, placing the female characters back under male dominance just as they seemed to assert their independence. Joey’s survival is not due to her own resilience but rather to her adherence to traditional female roles, making the film a missed opportunity to challenge outdated gender norms.
Abigail could have become a significant entry in the horror film canon but instead gets entangled in its nods to classic horror, falling into old gender stereotypes.