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Anya Taylor-Joy's showstopping performance in ‘The Witch’
The horror genre has enjoyed a terrific revival over the past decade, with directors such as Jordan Peele, Ari Aster, Jennifer Kent and Rose Glass creating some of the era’s most definitive works. Ti West has helped to reignite interest in 1970s-style slashers with X, creating a cult franchise in the process, and Julia Ducournau has become a leading figure in the body horror sub-genre with Raw and Titane. Put simply, the horror genre is currently experiencing one of its most fruitful periods.
Another director that has demonstrated his talents in the horror genre is Robert Eggers, whose 2015 debut feature The Witch was one of a handful of witchcraft and occult-themed movies to emerge in this period, alongside The Love Witch, the 2018 Suspiria reimagining, and Hereditary. Witches have been depicted on screen for decades, as demonstrated by Rosemary’s Baby and the original Suspiria – perhaps the most iconic witch-themed movie of them all.
However, Anya Taylor-Joy’s performance as an ordinary girl-turned-coven member in The Witch puts a new spin on the witch sub-genre, demonstrating how anyone that is ostracised enough can turn into the very thing that others fear of them. Set in New England in the 1630s, Egger’s folk horror follows a religious family recently forced out of their Puritan community. After setting up base on a rural farm, events don’t take long to turn tragic.
Kate Dickie’s Katherine gives birth to the family’s fifth child, Samuel, shortly after they move into their new home. However, he swiftly disappears after playing with Taylor-Joy’s Thomasin, the eldest sibling. Plagued with guilt, Thomasin has to deal with her mother’s accusations that she was responsible for her baby brother’s death. As tensions rise, Thomasin lashes out at her younger sister Mercy, joking that “I am that very witch” that sacrificed Samuel to the devil. In this scene, Taylor-Joy gives a chilling performance as an irritated older sister, channelling her family’s religious fears and personal trauma to deliver a cruel joke. Switching from a playful moment to one of extreme annoyance spurred by Mercy’s taunts that their mother hates her, Taylor-Joy casts doubt in the viewer through her scarily intense performance.
Soon after, the second eldest child, Caleb, also goes missing, with Thomasin the last person to see him. When he returns, delirious and deteriorating, the rest of the family accuses Thomasin of being a witch, despite her reassurance that she is not. Taylor-Joy consistently gives a star turn in her role, fighting against her family’s constant accusations of witchcraft. As the younger twins tease and shout at her and her parents give into hysteria, Thomasin swiftly moves between rage, disbelief, and fear.
The Witch was the actor’s first-ever film role, and she does a shockingly good job of transforming herself into a 17th-century teenager, complete with a Northern English accent. Her refined performance led her to secure countless other roles in horror and thriller films, from Thoroughbreds to Last Night in Soho and The Menu, making her one of contemporary cinema’s most coveted young actors.
As unsettling and gruesome acts continue to occur, such as William, the children’s father, being brutally attacked by their goat, Black Phillip, the film culminates in Thomasin submitting to witchcraft and joining a coven of naked witches, becoming the very thing her family accused her of. When she speaks to Black Phillip, who now has a human voice, Taylor-Joy uses subtle facial movements to convey the contradicting emotions of grief and excitement as she agrees to “live deliciously.” As she rises into the trees, she laughs, and you can almost feel the weight of the film’s events slipping away from her.
Eggers’ film highlights the dangers of religious fanaticism and irrational fears, as demonstrated by Thomasin’s family wearing her down until all she can do is embrace that which terrified them in the first place. Although Taylor-Joy reacted harshly to her performance, stating (via The Hollywood Reporter): “I was devastated. I thought I’d never work again,” her portrayal of Thomasin is undoubtedly brilliant, acting as the guiding figure in Eggers’ murky folk horror.
In The Witch, released by A24, Taylor-Joy plays Thomasin, the eldest child of William (Ralph Ineson) and Katherine (Kate Dickie), who are cast out of their 1630s New England community due to William’s specific religious convictions. The family establishes a homestead at the edge of a deep forest, and is soon plagued by apparently supernatural occurrences. As they continue, the parents and children turn on each other, and Thomasin is suspected of being a witch—but does the evil dwell within her, or is it just paranoia taking over?
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Reviews for "Stay Comfortable and Stylish with Orlando Magic Flip Flops"
1. John - 2 stars - I was really disappointed with the Orlando Magic flip flops. The quality was subpar and they were not very comfortable to wear. Additionally, the design started to fade after just a few uses. I expected better from a product representing a professional sports team.
2. Sarah - 1 star - These Orlando Magic flip flops were a complete waste of money. They fell apart after just a couple of weeks of wearing them. The straps broke and the sole started to separate from the shoe. I would not recommend these to anyone looking for a durable and long-lasting pair of flip flops.
3. Michael - 2 stars - I was excited to show off my love for the Orlando Magic with these flip flops, but they let me down. The sizing was way off, and they ended up being too small even though I ordered my usual size. The material also felt cheap and uncomfortable. Overall, not a good purchase.
4. Emily - 3 stars - The Orlando Magic flip flops were just okay. They were decently comfortable, but the design on the straps started to fade after a few wears. The fit was also a bit odd, and I found that they didn't provide enough support for my feet. I expected more from a product bearing the team's name.