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Horror is far too often perceived as cinema’s untamed and unwanted stepchild, especially during awards season. Sure, it’s one of the only genres reliably successful at the box office, but success and facts can’t stop stigma from relegating us to the cafeteria table far out by the recycling bins. Then, to get even more granular, there’s the rape-revenge subgenre. Lurking under horror’s umbrella, it’s a film category the mainstream only dares to whisper about by the watercooler—or maybe search in privacy mode when no one else is around.
From the fringes of horror’s rape-revenge aisle emerges Bystanders, an original film from Dread. Directed by Mary Beth McAndrews, editor-in-chief of Dread Central, the film marks the seasoned journalist’s directorial debut. This violent thriller takes its place in the lineage of under-discussed feminist rape-revenge horror films that demand to be seen. In the following interview with McAndrews, who is my good friend and colleague, we delve into her fascinating journey from scholar to filmmaker, the dark and deeply personal connections that fuel her art, and what horror’s brightest timeline looks like to someone who represents its future.
Just call it the Bystanders effect.
“The film follows Abby, a teenage girl who attends a party hosted by a frat boy named Cody,” McAndrews tells me when asked to summarize Bystanders. Reliably unflinching, she continues, saying: “Things take a horrific turn when Abby and her friends are drugged, assaulted, and hunted through the woods. One girl escapes and encounters a couple returning from a wedding, setting off a cascade of events.”
McAndrews ended up serving as director and producer on the project, roles she embraced after years of passionate advocacy for its unconventional script. Written by (and starring) Jamie Alvey, the project had been on McAndrews’ radar since 2018. “Jamie’s script was inspired by the Brock Turner case,” she explains. “At the time, I was pursuing my master’s degree in cinema and gender studies, focusing on female-directed rape-revenge films. Reading the script felt serendipitous; it was deeply aligned with my academic and personal interests.”
After joining Dread Central and its parent company, Epic Pictures, McAndrews championed the project. “I pitched it as a low-budget yet critical story,” she recalls. “Eventually, after much persistence, it got greenlit, and I was honored to be asked to direct. The experience was both terrifying and exhilarating, but I’m incredibly proud of what we accomplished with the resources we had.”
Survival of the absolute sickest.
The film’s dark confessionalism reflects McAndrews’ personal connection to its material. “I’m a sexual assault survivor,” she shares. “My experiences in high school and college profoundly shaped my perspective. For a long time, I avoided media that tackled this subject because I didn’t know how to process it. But discovering films like Coralie Fargeat’s Revenge changed that. They offered a way to confront these themes without being exploitative.”
Her academic work provided additional depth. “Studying female-directed rape-revenge films revealed a canon of stories that portray assault and survival with honesty and agency,” she says. “Adding my name to that lineage feels surreal and empowering.”
Rape-revenge films are known for their graphic depictions of violence, a contentious aspect McAndrews addresses thoughtfully. “Some view this violence as unnecessary or problematic,” she acknowledges. “But for many survivors, including myself, it can be cathartic. These films provide a safe space to imagine retribution and reclaim power, even if only temporarily.”
She emphasizes the evolution of the genre. “Contemporary examples like Violation and Revenge have moved beyond the exploitative gaze of earlier entries like I Spit on Your Grave,” she notes. “They focus on survivor’s agency and the psychological toll of trauma. That’s the approach I aimed for with Bystanders.”
A different sort of cabin in the woods.
Bystanders situate its horrors in the familiar setting of a cabin in the woods. For McAndrews, the location evokes iconic films. “Evil Dead always comes to mind,” she says. “We even had someone compare our cinematography to Sam Raimi’s work, which was flattering and unexpected.”
The setting’s isolation amplifies the film’s tension, she explains. “There’s something inherently terrifying about being cut off from the world, surrounded by nature that feels both beautiful and menacing.”
A nuanced discussion of exploitation in horror emerges during our conversation. “The term ‘exploitation’ often conjures images of 1970s grindhouse films,” McAndrews says. “But violence is just as much a part of exploitation as gratuitous nudity. The key is the lens through which these stories are told. You can create a sex-positive, woman-focused exploitation film. It’s about intention and execution.”
She describes Bystanders as “exploitation lite”. “It embraces some tropes while subverting others,” she explains. “The goal is to honor the genre’s roots while making something fresh and resonant.”
She’s got a new hobby … murder.
Central to the film’s impact is its protagonist, Abby. “She’s a 17-year-old on the cusp of adulthood,” McAndrews says. “Awkward and naive, she reminds me of myself at that age. Her journey is one of disillusionment and resilience as she confronts betrayal and learns to reclaim her power.”
Brandi Botkin’s portrayal of Abby drew praise from McAndrews. “Brandi brought so much depth and authenticity to the role,” she says. “Her performance captures the vulnerability and strength that defines Abby’s arc.”
With her first feature complete, McAndrews looks ahead to new projects. When asked which intellectual property she’d like to tackle, she doesn’t hesitate. “Paranormal Activity,” she declares. “I’ve done extensive research on the series and have ideas for a prequel centered on Katie’s childhood. It would blend analog horror with liminal space vibes, and of course, I’d work in some queer themes.”
As for remakes, McAndrews dreams big. “I’d love to reimagine Poltergeist or Black Christmas,” she says. “Not to replicate the originals, but to reinterpret their ideas in a way that feels fresh and meaningful.”
Beyond filmmaking, McAndrews continues to shape the horror landscape as a journalist and editor. Her work amplifies marginalized voices and pushes for more inclusive storytelling. “Horror has always been a space for subversion and social commentary,” she says. “I want to see it become even more diverse and reflective of the world we live in.
You can buy or rent Bystanders as of today on VOD. Keep an eye on Dread Central in the coming weeks for information on a streaming premiere date.
Categorized:Interviews News
