Ari Aster is a renowned filmmaker known for his directorial debut, "Hereditary," and his follow-up film, "Midsommar." Both movies have been praised for their unique storytelling and unsettling visuals. Although neither film explicitly explores the theme of witchcraft, they do contain elements that can be associated with witches and the occult. In "Hereditary," Aster delves into a family's dark secrets and the supernatural forces that haunt them. The movie features a character named Joan, who plays a significant role in unraveling the mystery surrounding the family's curse. While Joan's intentions may seem innocent at first, it is later revealed that she is involved in a secretive cult.
The Witch, Hereditary, and Midsommar | Folk horror elevates the genre
Subversive horror films such as The Witch, Hereditary, and Midsommar are once again playing with folk tales rooted in paganism that previously emerged in the 70s. It's a unique type of fear and discomfort.
by S.D. Wickett | November 10, 2022 FavouriteWhat is it that fills us with fear? What makes us look over both shoulders? What is it that causes discomfort, unease and paranoia? This question is at the heart of the horror genre.
Of late, something new has taken over the genre. Something far more grounded, provocative, and altogether terrifying. This is because a new crop of filmmakers truly understands the questions that open this article. Is it not certainty that we fear, but rather uncertainty. It is the mystery and secrecy of what sits in the darkness, what lurks out in the woods.
No cinema genre has evolved more in the past decade than horror, primarily down to the impact and legacy of three particular films; Robert Eggers’ The Witch and Ari Aster’s Hereditary and Midsommar. These three pictures pay a clear homage to the folk horror sub-genre, which utilises nature, folklore, and the occult to convey its sense of discord. The particular usage of suspense separates these films from the rest of the genre. It appeals to a more profound fear within us, the fear of man’s social bonds usurped in the service of true evil. There are murderous, delusional, and incommunicable cults willing to do, or sacrifice, anything for the pantheon of demons and deities they serve.
What is folk horror? The term, coined by Mark Gatiss (of Sherlock and Doctor Who note), was born in the budget British horror of the late 60s and early 70s, inspired in no small part by the counterculture of the age and a renewed interest in the occult. 1968’s Witchfinder General, 1971’s Blood on Satan’s Claw, and 1973’s The Wicker Man. Each is set in the anonymous rural landscape of the English interior. This setting was found to be of a particular profundity; out here, one is isolated, vulnerable, and far from safety and the comfort of familiar faces. It is where cults and covens gather.
In the inter-years between the first wave of folk horror and the films I have listed, horror became stale and predictable. Paranormal Activity and The Purge became bankable franchises. At the same time, the resurrection of several horror classics (Halloween, Friday the Thirteenth, etc.) failed to give them a new lease on life. The directors of these films used cheap tricks, such as jump-scares and gore, to create shock rather than genuine fear. That is where Eggers and Aster come in.
I cannot recall another film of this genre that has filled me with more dread, thought, and discomfort (given the intention, this is a good thing) than Eggers’ The Witch. It is a film that employs so few jump scares that I could only count two half-jumps in a recent viewing. Instead, it lifts horror to an unprecedented level. The score, cinematography, and tones of the satanic corruption of innocence are so well-executed that the film’s ending endures in the mind long after Netflix has been switched off. So much so that an early shot depicting a broad and anonymous stretch of New England woods, matched with the score, creates a ripple of tension that maintains itself for the film’s duration.
In it, a Puritan family settled in early colonial America is banished from the safety of their settlement and sent out into the harsh wilderness. They build a home on the edge of a forest, where something other lurks. Beginning with a newborn infant snatched away for some nefarious ritual, each family member is killed off until only the eldest, Thomasin, remains. Having been accused of witchcraft by her family, she is finally broken down and seduced by the devil. Signing away her soul, she follows its new owner into the woods and to her new home within the coven of witches.
What The Witch has in common with Aster’s works is a fixation on the occult. In The Witch, it is the devil himself, incarnated in the body of an ominous black goat. In Aster’s Hereditary, it is a far more obscure figure. However, what connects them is said figure’s desire to corrupt and own a single member of the central family.
Hereditary, Aster’s first feature film, is a slow burn in which the operative horror instrument is not entirely clear until the end; however, a constantly rising tension is still present. It begins with something uncanny, left behind by the matriarch of the depicted family.
Upon the matriarch’s death, from whom the central family are estranged, the hidden nature of her life and death creeps in.
As the plot grows and takes a brief sidestep into gore, family drama, and a study of grief, the supernatural creeps in. At the centre of Hereditary is a cult formerly headed by the matriarch who worships and seeks to reincarnate the demon king Paimon. Just like The Witch, evil wins in the end. Perhaps this is the crux of folk horror; the ultimate victory of evil forces. The horror continues with an ending such as this long after the credits. One must ask themselves, what happens to the world now that Paimon is here? What happens now that the devil has claimed another soul? What is to become of the world?
Lastly, and perhaps the most subversive to the genre of all of these films, is Aster’s follow-up, Midsommar. What separates this film from the others is the use of light. Whereas The Witch uses the natural shading of the forest and a bleak colour palette, and Hereditary makes excellent use of darkness and shadows, Midsommar takes place entirely in the daytime.
A group of American students, mostly studying Anthropology, descend on a rural Swedish town in search of fodder for their theses. A gradual thinning of the herd follows as the ritualistic festival holds human sacrifice at its centre. Aster seems virtuosic in weaving real drama into the semi-supernatural horror Midsommar provides. He depicts the dying embers of a relationship that’s lost its spark and is kept together solely by grief and guilt.
Midsommar’s palette is a mixture of surgical white and technicolour. It relies on psychedelia and the perversion of the setting’s initial innocence for its horror. The ending forces the protagonist into an agonising decision over her seemingly philandering partner, with unsettling bloodlust ever-present in the background. The undertones of Nordic paganism in Midsommar create a product that subverts our natural association of bright colours with innocence in a devastating way.
None of these pictures would be possible without A24. In just ten years, A24 has embedded itself deep within independent and heterodox filmmaking and is now an indispensable ‘mini-major’; it is the home of Eggers, Aster, Noah Baumbach, and Greta Gerwig. Also on the roster are such recent classics as Room, The Lobster, Swiss Army Man, and the Oscar-winning Moonlight.
In these films, you, the reader, will come to know horror in a way quite unlike what’s typical for the genre. Simply put, they are discomfort elevated to an art form.
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Review: The Witch
In a span of about four years and almost consecutively, we horror fans were gifted with three debuting directors that shook the foundations of contemporary horror cinema. Ari Aster (“ Hereditary ”, “ Midsommar ”), Jordan Peele (“ Get Out ”; “ Us ”), and Rogert Eggers (“The Lighthouse”) are these directors, the last one who's debut film this writing is about.
"The Witch" starts with the trial of William (Ralph Ineson; “Guardians of the Galaxy”), who's pride and arrogance have put him in that situation and that leads him to be expelled from the pilgrim community where he lived. Along with his family, he has to leave and find a new place to live, which he finds near a forest. William and his family's life is altered by this change, as they now have to fend for themselves without help from the community and because the forest holds dark secrets.
After being expelled from the community, the plot's attention is focused on Thomasin (Anya Taylor-Joy; “Split”), the couple’s older daughter who's entering puberty. Soon, we discover that Thomasin is a shy and God-fearing young woman. Besides William’s pride, the director Rogert Eggers does an excellent job of scrutinizing the characters and emphasizing the characteristics that are important for the plot.
The story starts to take shape when Thomasin plays with his younger newly-born brother, and he inexplicably disappears without a trace. As spectators, we witness the chilling outcome of the baby, which establishes the presence of a being with supernatural capabilities: a witch. In horror cinema, witches have been constantly used as a symbol of debauchery and female liberty, which completely contrasts with Tomasin’s personality, and plays a crucial role in plot development.
Something that has distinguished Eggers in his, for now, two full-length films is creating complex and heavy plots, accompanied by an imposing atmosphere. Attention to detail is another of his characteristics, showcased in this movie through the beautiful cinematography and having constructed it entirely using the English of the time, which requires subtitles. The attention to detail and all the small clues spread throughout the movie give it a high rewatch value, offering a different experience from the first watch.
Another prevailing theme of this movie is coming of age and the changes and curiosities in this stage of life. This we witness through Thomasin’s perspective, as well as from her brother Caleb (Harvey Scrimshaw; “The Devil Outside”). In Thomasin’s case, this is elaborated on how she is affected by the decisions and how her parents treat her, which creates a rebelliousness that she fears to express because of the Christian beliefs that she was raised with. In Caleb’s case, it is exemplified through the sexual awakening, equally repressed by his beliefs and values. Interestingly, both siblings satisfy their curiosities in a completely opposite frame than the one they were instilled in.
“The Witch is simply one of the best horror movies of the past decade and one that is featured in my list of the best horror movies of all time. The topic, the characters, the atmosphere, the visuals, simply everything in this movie is fascinating, and this without mentioning the explosive ending that never fails to give me goosebumps. It is not an exaggeration to say that “The Witch” is one of those movies that come close to perfection.
The Witch (2015) Revisited – Horror Movie Review
The episode of Deconstructing… covering The Witch was Written, Edited, and Narrated by Kier Gomes, Produced by Tyler Nichols and John Fallon, and Executive Produced by Berge Garabedian.
Every family has a black sheep. The one person who (for better or worse) feels different from everyone else. Maybe you like movies that your siblings and parents don’t enjoy, or maybe you’re more into the arts where the rest of your family are into sports or academics, or maybe you’re a blood-marked hellion who’s destined to wind up streaking through the forest with a coven of flying witches- and that’s just not your family’s idea of a good time. We’ll definitely talk more about that last one, but the point I’m making is that each of us has at some point in our lives felt like an unwelcome outsider who wants to simultaneously fit in and stand out. Such is the case for Thomasin, the oldest of 5 kids in 1600s New England where her and her family have just been banished from their community for holding different beliefs than their neighbors. Today’s movie is a haunting slow burn tale of estrangement and exile which (much like the film’s antagonist) takes on many forms throughout the story. In today’s episode we’re going to breakdown the success and important impact of 2015’s The Witch (watch it HERE) while also diving deep into what this movie can tell us about finding our place in a world that otherwise doesn’t accept us. It’s a dark story, to be sure. But I believe it’s also a very personal story to the filmmaker behind it which makes for an interesting sense of relief and liberation by the time the credits roll. For those looking for an excess of gore and flashy kills, you may soon find yourself wandering beyond the slice and dice of slasher cinema and instead being taken on a more cerebral and psychological journey through the mind of Robert Eggars in his first directorial outing- The Witch. I’m Kier with JoBlo Horror, and you’re watching Deconstructing .
2015’s The Witch is a slow burn paranormal horror film directed by Robbert Eggars, and starring Anya Taylor Joy, and the always exceptional Ralph Ineson and of course this movie was the one that really shot A24 from another independent arthouse studio, to the high-brow production company that is now responsible for some of the genre’s most acclaimed fare. The movie follows Thomasin (Joy), as the teenage daughter of William and Katherine- a recently exiled family who was forced to build their own farm away from their community after a religious dispute. When the family starts their new life, Thomasin and her siblings begin experiencing what they believe to be encounters with a witch who resides in the woods. Along the way we’re in for some disturbing material as Thomasin’s family begin to suspect her of being a witch herself based on her rebellious and free-spirited behavior.
This movie can be analyzed in any number of ways, but today we’re going to break it down using our 4 key categories: First, we’ll talk about the film’s origin and how it got from an idea to production. Then, we’ll get into the movie’s legacy- which should be interesting seeing as this movie really set the A24 fire ablaze for the coming years. After that we’ll lighten up with some trivia where I will give you some fun facts about the film. And we’ll end it all by talking about the film’s X-factor where I search for the one thing that takes this from an acceptable paranormal haunt to a classic horror film in its own right.
So, if you’re ready than say your prayers, and don’t forget to like and subscribe, and let’s hit play on The Witch.
ORIGIN
Now, in order for me to really breakdown why this movie works- I need to first talk about its writer and director, Robert Eggars. Eggars was born in New York but mostly raised in New Hampshire, which he’s gone on record saying is a huge inspiration for his work in writing The Witch. Eggars was born to a single mother who later married a college professor. Eggars has stated that The Witch is a personal story to him and if you ask me, it shows. The filmmaker attended the American Musical and Dramatic Academy in New York City where he found his home- now being a New York City resident. All of this seems important to the movie in my opinion. Eggars states he had a fear of witches growing up and wanted to center his story around that fear- and Thomasin feeling like an outsider in her family also seems to be a theme that Eggars intentionally emphasizes in the writing. Not to mention, the movie’s conclusion could simply be an allegory for Eggars embracing the arts and his new life among likeminded artists and feeling a sense of emancipation from the life of academia he was raised in by his parents. In any case, the movie’s original treatments that Eggars pursued making were all declined multiple times for being “too weird” and “too obscure” which you can imagine must’ve been true considering that the less weird and obscure version we got was STILL quite weird… and obscure.
Eggars stated about making the film: “If I’m going to make a genre film, it has to be personal and it has to be good.”
When he finally was able to secure funding for the movie, Eggars worked exhaustively with his production crew as well as local museums to make sure that the Puritan era of 1600’s New England was displayed as accurately as possible. Everything from the wardrobe, the set design, the cutlery and even the patterns found on some of textiles were recreations of historically accurate pieces and designs. Even the characters’ unique accents were carefully crafted to match a newly settled colonial family. Eggars even shot the film in as primitive a way as possible by only using natural sunlight and candlelight to light the scenes, as well as a soundtrack that evokes musical instruments of the times. The movie was given a budget of only $4 Million which is very small, but easily manageable for such an intimate story.
Anya Tylor Joy recalled working on the film and stated quote: “Everything from the costumes to the actual set- it was all so real. Things like the costume, and the way we’re speaking, it just so of the time. And so, it transported us- and I feel like if it transports the actors and we really believe and we’re into this “playing pretend” that hopefully it takes the audience with it.”
The movie was released in theaters in February of 2016 and the rest, as they say, is history.
LEGACY
The Witch was originally released at Sundance Film Festival in January of 2015, but upon being screened for audiences at the festival, A24 and DirecTV purchased the film’s distribution rights and scheduled its theatrical release for a year later. At the time, A24 was specializing in the distribution of low budget films and their catalogue prior to this movie was very limited. They’d worked with projects like Spring Breakers and Room being among their most notable at the time. However, securing the rights to the US distribution of The Witch not only led to a fruitful relationship with Eggars on his previous films, but also launched the now iconic status of A24 and their knack for producing hit indie fare like Ti West’s X and Pearl, as well as Ari Aster’s Hereditary and Midsommar. The real legacy of this movie is the amount of opportunity it created for other filmmakers with unique ideas and visions for their film and that goes well beyond the horror genre. A24 has produced comedy films like Funny Pages, and romantic dramas like Past Lives, and all these movies may owe a small piece of their success to Eggars’ feature debut. So, when your film buff friend wears his A24 Dad hat to your next function, make sure you mention The Witch. See if they respect the OG as much as they should.
This is a movie that was never meant to have a sequel or kick off a franchise- although Eggars proceeding films were also similar in theme to this film to create an interesting catalogue of increasingly mind-bending films. Hell, if it wasn’t for this movie- we may have never gotten The Lighthouse or The Northman, which honestly, I don’t think I could live without.
But the lasting impact that this movie has made comes from the bold and confident direction of this first-time filmmaker. Eggars didn’t make this movie like a rookie. He studied. He went deep in order to deliver something truly interesting that visually told his story. This movie is often praised for its ability to pack the entire story into a short runtime with minimal exposition. The movie tells you what it’s about and what you need to know in every frame- and it trusts the audience to figure it out without having to be told too much. THAT is confident filmmaking. There’s a picture language to this movie that provides a mood, and an unfolding mystery within its images. Simply, this movie’s legacy is the trust that Hollywood gained for Robert Eggars and the entire A24 organization off this one movie. Which by the way made over 10 times its original budget at the box office.
TRIVIA
Now here’s an interesting pallet cleanser before we get deep and talk about the finer details of this movie. Did you know that the spelling of the movie “The VVitch” is spelled with 2 V’s instead of a W because that’s how the word “witch” was commonly spelled in the 17th century? As it turns out, the letter “w” was not very common in those days. I still have a habit of jokingly referring to this movie as “the v vitch” which either annoys or confuses just about everyone. Am I alone in that? Comment below if you do it too.
And before we move on, let’s see if you can answer this question:
Which animal appears multiple times in the movie and was considered in the 17th century a sign that a witch is nearby?
- A hare or rabbit
- Bats
- Weed Rats
- Cockroaches
Comment your answers down below!
X-FACTOR
Is it that time already? Because truthfully, I’m not prepared to be at this point in the video. It’s not that I think this movie is particularly better than any of the other movies we’ve broken down, and it’s not that I can’t find a good aspect to this movie to praise above the rest. It’s more that this movie means a lot to me. I mentioned before that every family has a black sheep. And I stand by that- that isn’t always a bad thing. See, The Witch focuses mostly on the story from Thomasin’s perspective. She is well aware that she’s the odd one out in her family and it gets made increasingly clearer throughout the movie that she is different from them. Her religious beliefs, her behavior, her idea of a joke- all different. She’s like Matilda and the Wormwoods in that she feels almost foreign to her own family, yet doesn’t necessarily mind being the black sheep, but in fact embraces it. Also, if the metaphor isn’t clear enough, there is a literal Black Sheep in the film and it’s evil so, ya know. Case in point.
I also kind of want to rant about how much I appreciated the tension packed into every shot of this movie. From the cinematography by Jarin Blaschke that pulls your gaze towards the darkness, to the sinister yet somber voice of William, to the disturbing final scene where Thomasin is forced to kill her own mother before joining her new family in the most cinematic witchcraft ritual imaginable, and even the lasting hole in my stomach from the deaths of Thomasin’s siblings. It’s all there, and it’s all to say one thing. We are the black sheep.
But what I REALLY love about this theme, is how much it actually says about Thomasin. See, her family wants to send her away to serve another family because they think Thomasin is too different and doesn’t have anything in common with them. Yet the family themselves were banished from their own community for the very same reason. The family was the black sheep of the community. Thomasin was always going to rebel. She was always going to find her own way. She didn’t hate her family for hating her- despite killing potentially all of them- but instead she honored them the only way she could- She found her own slice of the world where she was free to be herself. And if there’s ONE THING that stands out as the special sauce of this movie, it’s that Eggars was bold enough to find his own path, telling his own story, in his own way- and he did it on the very first try.
A couple of the previous episodes of Deconstructing… can be seen below,. To see more episodes, and to check out our other shows, head over to the JoBlo Horror Originals YouTube channel – and subscribe while you’re there!
While Joan's intentions may seem innocent at first, it is later revealed that she is involved in a secretive cult. This cult practices ritualistic ceremonies and uses ancient symbols reminiscent of witchcraft. The film does not explicitly label Joan as a witch, but her actions and association with the occult suggest a connection.
Similarly, "Midsommar" also explores themes of ancestral traditions and ancient pagan rituals. The film follows a group of friends who travel to a remote Swedish village to witness a midsummer festival. The villagers partake in activities that can be interpreted as witchcraft or witch-like practices. They engage in rituals involving hallucinogenic drugs and perform complex dances and ceremonies. The film combines these elements with eerie and unsettling imagery, creating an atmosphere of discomfort and dread. Overall, while Ari Aster's films do not directly feature witches in the traditional sense, they do incorporate elements associated with witchcraft and the occult. His distinctive storytelling and attention to detail create an unsettling atmosphere that leaves audiences questioning the boundaries of reality and the supernatural. Aster's exploration of these themes has cemented his place in the horror genre and showcases his ability to craft thought-provoking and visually striking films..
Reviews for "The Witch's Curse: Ari Aster's Examination of the Supernatural in Film"
1. John - 2/5 stars - I was really disappointed with "Ari Aster the Witch". The plot was confusing and there were too many unanswered questions. The pacing was extremely slow, and I found myself getting bored throughout the film. The characters were underdeveloped and lacked depth, making it hard to connect with them. Overall, I wouldn't recommend this movie to anyone looking for an engaging and thrilling experience.
2. Sarah - 1/5 stars - I have to say, "Ari Aster the Witch" was one of the worst movies I have ever seen. The storyline was all over the place and made no sense. The acting was mediocre at best, and I couldn't care less about any of the characters. The film's attempts at being scary were laughable, and I found myself rolling my eyes more than jumping in fear. Save your time and money and skip this disappointment.
3. Mike - 2/5 stars - "Ari Aster the Witch" had a lot of potential, but it fell flat for me. The atmosphere was well-established, but the execution of the horror elements missed the mark. The movie relied too heavily on jump scares and didn't deliver anything truly terrifying. Additionally, the ending was predictable and left me feeling unsatisfied. Overall, I found it to be a forgettable and average horror film.