The Witch is a 2015 psychological horror film written and directed by Robert Eggers. It is set in the 17th century in New England and tells the story of a Puritan family who experiences supernatural occurrences after they move to a remote farm on the edge of a large forest. The film explores themes of religious paranoia, family dynamics, and the fear of the unknown. One aspect of The Witch that has received a lot of attention and praise is its use of atmosphere and cinematography. Eggers effectively creates a sense of isolation and dread through the use of wide shots that emphasize the vastness and emptiness of the surrounding wilderness. The film is also shot entirely in natural light, which adds to its realism and enhances the feeling of uncertainty and unease.
“I’m a devotee of eroticism, but not in a literary sense.” Your mileage with The Witch in Love, a heady gothic by director Damiano Damiani, hinges on how believable you find the extremely British, hair side-parted, tweed-jacket wearing Robert Johnson in the role of a vain, Italian playboy named “Sergio.” I wasn’t sold at first, but soon came to enjoy his take on an aging, narcissistic writer that falls for a magical pussy honeytrap. His descent into horny madness signaled by pounding African drums and tribal singing. Primeval amidst the modernity. Released in 1966, a year which film historian Roberto Curti calls “the swan song in the first phase of the Italian Gothic horror,” The Witch takes place not in…
Things get increasingly horrific after the eldest son, too, disappears in the woods, and while Eggers maintains some ambiguity about whether glimpses of supernatural events are real or imagined, the distinction hardly seems to matter after a while. When historian Sergio Logan is led to apply for a live-in work position by unusual means, he finds the job of organizing Consuelo Lorente s private library comes with a fixed bonus in the form of a beguiling young woman, Consuelo s daughter Aura.
The film is also shot entirely in natural light, which adds to its realism and enhances the feeling of uncertainty and unease. Another notable aspect of The Witch is its authentic depiction of 17th-century language and dialogue. Eggers conducted extensive research and used historical documents from the time period to ensure the accuracy of the characters' speech and mannerisms.
Review by Mike D'Angelo Patron
Sundance is always a bit of a madhouse, but the first two days of this year’s edition have been even more like a slow-motion cattle stampede than usual. After getting shut out of gymnastics comedy The Bronze on Thursday night—something of a blessing, judging from most reliable reports—I wound up spending a grand total of nearly three hours yesterday queueing for The Witch: A New England Folktale: 45 minutes in the morning, only to be turned away, and then two hours more when the festival hastily scheduled a second screening that night. That’s almost twice as long as the movie runs. And it was totally worth it, because The Witch is the sort of singular, crazily ambitious, utterly unforgettable film that Sundance should showcase but too often doesn’t. Little wonder that people were all but kicking shins to get into the theater at both screenings—a few select critics had apparently been given a sneak preview before the festival began, and word of something special quickly spread. Whatever one’s stereotypical conception of a “Sundance movie” may be (and such stereotypes are rooted in truth), this ain’t it.
Set in 1630, and written by director Robert Eggers (no apparent relation to Dave) with close attention to the era’s archaic speech patterns, The Witch plays like Arthur Miller’s The Crucible reconceived as a genuine, unrelenting descent into darkness. Early on, the infant son of a family living in solitude at the edge of a forest is snatched, by a person or creature unknown, right in the middle of a game of peek-a-boo. Accusations and recriminations are tossed around among the father, the mother, and the four remaining children, with special emphasis on teenage daughter Thomasin (Anya Taylor-Joy). Things get increasingly horrific after the eldest son, too, disappears in the woods, and while Eggers maintains some ambiguity about whether glimpses of supernatural events are real or imagined, the distinction hardly seems to matter after a while. Unlike The Crucible, The Witch isn’t trying to make a statement, or draw pointed parallels to current events—it’s trying to freak the living shit out of the audience, and succeeding mightily. The intensity, which begins at a level that’s already higher than many horror films achieve, builds to a fever pitch, with every member of the small ensemble (including two Game Of Thrones vets, Kate Dickie and Ralph Ineson, as the parents) contributing to the overall sense of barely controlled hysteria. Sundance opted to place the film in the dramatic competition rather than in its Midnight section—a welcome vote of confidence that suggests they think Eggers is going places. Judging from The Witch, it’s hard to argue.
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Set in 1630, and written by director Robert Eggers (no apparent relation to Dave) with close attention to the era’s archaic speech patterns, The Witch plays like Arthur Miller’s The Crucible reconceived as a genuine, unrelenting descent into darkness. Early on, the infant son of a family living in solitude at the edge of a forest is snatched, by a person or creature unknown, right in the middle of a game of peek-a-boo. Accusations and recriminations are tossed around among the father, the mother, and the four remaining children, with special emphasis on teenage daughter Thomasin (Anya Taylor-Joy). Things get increasingly horrific after the eldest son, too, disappears in the woods, and while Eggers maintains some ambiguity about whether glimpses of supernatural events are real or imagined, the distinction hardly seems to matter after a while. Unlike The Crucible, The Witch isn’t trying to make a statement, or draw pointed parallels to current events—it’s trying to freak the living shit out of the audience, and succeeding mightily. The intensity, which begins at a level that’s already higher than many horror films achieve, builds to a fever pitch, with every member of the small ensemble (including two Game Of Thrones vets, Kate Dickie and Ralph Ineson, as the parents) contributing to the overall sense of barely controlled hysteria. Sundance opted to place the film in the dramatic competition rather than in its Midnight section—a welcome vote of confidence that suggests they think Eggers is going places. Judging from The Witch, it’s hard to argue.
This attention to detail adds to the film's overall sense of realism and immerses the audience in the Puritan world. In addition to its technical and historical accuracy, The Witch also stands out for its strong performances. Anya Taylor-Joy, in particular, delivers a compelling performance as the film's protagonist, Thomasin. She effectively portrays the character's gradual descent into hysteria and her struggle with her own faith and morality. The other actors, including Ralph Ineson and Kate Dickie as Thomasin's parents, also give nuanced and believable performances. Overall, The Witch is a thought-provoking and unsettling film that effectively explores themes of fear, religion, and the supernatural. Its attention to detail, atmospheric cinematography, and strong performances make it a standout entry in the horror genre. Whether you are a fan of horror films or historical dramas, The Witch is definitely worth a watch..
Reviews for "Discovering Underrated Films with qitch Letterboxd: Expand Your Movie Horizons"
1. John - 2/5 - I was really disappointed with "The Witch". The concept seemed interesting, but the execution fell flat for me. The pacing was incredibly slow and dragged on, making it difficult for me to stay engaged. Additionally, I found the dialogue to be clunky and unnatural, which further took me out of the film. While I can appreciate the atmospheric visuals and the efforts to maintain historical accuracy, it just wasn't enough to salvage the overall experience. Overall, I left the theater feeling underwhelmed and unfulfilled.
2. Sarah - 2/5 - I don't understand the hype around "The Witch". The film lacked a clear and compelling narrative, leaving me feeling confused and disconnected from the characters. The supernatural elements felt forced and predictable, failing to create a sense of genuine fear or intrigue. The slow pacing only exacerbated my frustration, making the already weak plot feel even more stagnant. I wanted to like this film, but unfortunately, it just didn't live up to my expectations.
3. Mark - 3/5 - While "The Witch" had some intriguing moments, I found it hard to fully immerse myself in the story. The constant use of archaic language made it difficult to understand what the characters were saying at times, which hindered my ability to connect with them on a deeper level. Additionally, the lack of character development left me feeling disconnected from their struggles and unable to invest in their fates. The film did have some visually impressive scenes, but overall, it fell short of being a truly engrossing and memorable horror film.
4. Emily - 2/5 - "The Witch" felt like a missed opportunity. The concept had so much potential, but the execution left me unsatisfied. The slow pace made the film a chore to sit through, and the excessive use of darkness and muted color palette made it visually unappealing. I also found the plot to be confusing and convoluted, with too many unanswered questions left hanging. The film relied too heavily on atmosphere and lacked substance, making it difficult to fully invest in the story or characters. Overall, it was a disappointing experience that failed to deliver on its promising premise.