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Sound wise the film has a somewhat generic score by Mark Korven (who also did The Lighthouse and the Canadian sci-fi horror The Cube) – it does a good job at establishing atmosphere and dread – there’s intense highs and unnerving lows – but it feels so much like every other horror score, nothing distinctive about it. The visuals are stronger though – there’s a suitably drained colour palette, lots of browns and greys to get that feeling of despair and dread across. Camera work is fine overall, although I think the editing helps out a lot – like the moment when the baby disappears in front of Thomasin, which also makes for an excellent jump scare. There’s also some unusual transitional editing where some shots occasionally cut straight into black with the sound cutting out, almost like an emotionally palette cleanser between scenes. One shot sticks out to me – when the parents are burying Caleb, you get a long shot of the farm with the two right in the left corner, leaving the rest of the frame with the buildings and dense forest behind them, with just a little bit of movement from the chimney smoke. Really beautiful composition – almost painterly.
Ralph Ineson does well with the stoic dad, but it s a shame Kate Dickie doesn t get more screentime she always gets regulated to small or supporting roles and never gets to play leads watch Red Road for evidence of her huge acting skills. Nonostante il ritmo lento e l inglese arcaico, sono rimasto letteralmente catturato per l intera durata, combattendo contro un angoscia palpabile e qualche momento di genuina inquietudine.
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The Witch: A New-England Folktale
The Vvitch is a film shrouded in a mist of uncertainty. Why exactly did the family settle in America when they have so many doubts about moving in the first place? What was the full reasoning behind their banishment from the plantation? The uncertainty isn’t just with the characters, it’s also an issue with Eggers. While the film has many positives, it sometimes feels creatively restrained, as if Eggers is trying to follow horror conventions to keep the audience interested, and he hasn’t got the confidence to offer something truly different.
Acting is pretty good across the board – the child actors (Anna Taylor-Joy and Harvey Scrimshaw) do a wonderful job with their parts, they seem very natural, particularly their mastery of northern English accents. Ralph Ineson does well with the stoic dad, but it’s a shame Kate Dickie doesn’t get more screentime – she always gets regulated to small or supporting roles and never gets to play leads (watch Red Road for evidence of her huge acting skills).
Sound wise the film has a somewhat generic score by Mark Korven (who also did The Lighthouse and the Canadian sci-fi horror The Cube) – it does a good job at establishing atmosphere and dread – there’s intense highs and unnerving lows – but it feels so much like every other horror score, nothing distinctive about it. The visuals are stronger though – there’s a suitably drained colour palette, lots of browns and greys to get that feeling of despair and dread across. Camera work is fine overall, although I think the editing helps out a lot – like the moment when the baby disappears in front of Thomasin, which also makes for an excellent jump scare. There’s also some unusual transitional editing where some shots occasionally cut straight into black with the sound cutting out, almost like an emotionally palette cleanser between scenes. One shot sticks out to me – when the parents are burying Caleb, you get a long shot of the farm with the two right in the left corner, leaving the rest of the frame with the buildings and dense forest behind them, with just a little bit of movement from the chimney smoke. Really beautiful composition – almost painterly.
Thematically, I’ve always enjoyed films where characters question their religion, and this one is no exception. There’s a constant tension with Thomasin failing to abide by the rule of God, with the forest dwelling witch being represented as a tool of the devil. Not sure what the deal was with the witch getting naked and rubbing herself with what appear to be either mashed up fruits or blood, kind of hard to tell which. It gets mentioned in the film that the baby, Sam, was born a sinner (and apparently not baptized), and this fact seems to be the reason why they find themselves doomed. There’s some interesting folklore mysteries as well – symbolism of the goat (or “Black Phillip” as the younger kids affectionally call him) and the hare that keep escaping everyone’s clutches. The ending to me seems like Thomasin has little choice but to give into the devil’s power, seeing as she has no more family members alive. Part of me wonders whether the film is trying to say something about puberty – Thomasin’s upcoming “womanhood” is often mentioned by her parents. Has she been deemed to have indulged in sin somehow?
I can’t help but compare The Vvitch to The Lighthouse, which is a far stronger and more confident work, but The Vvitch does stand up on its own to leave a lasting impression.
Published AlwaysBelieve Jul 03 2023Il recente upgrarde in blu ray di vari titoli che ho in collezione, mi sta portando a rivisitare alcuni film che ho ritenuto validi al primo impatto: l'ultimo è stato "The Witch: A New-England Folktale", esordio di Robert Eggers. Senza troppi preamboli, si tratta di un ottimo film, horror abbastanza atipico rispetto alle produzioni pacchiane e casiniste coeve, che influenzerà un modo "nuovo" ed "elevato" di interpretare il genere. "The Witch" probabilmente non è un capolavoro, ma può vantare un'atmosfera a dir poco clamorosa, coadiuvata da una fotografia eccellente. Il senso di pericolo imminente, condanna ed angoscia è restituito in maniera straordinaria, così come è molto ben reso il periodo storico (1630), incorniciato da un'ambientazione boschiva magnifica. Nonostante il ritmo lento e l'inglese arcaico, sono rimasto letteralmente catturato per l'intera durata, combattendo contro un'angoscia palpabile e qualche momento di genuina inquietudine. Bene il cast e da segnalare l'esordio di Anya Taylor-Joy. Credo finirà nelle mie visioni annuali.
Published P469px Dec 12 2022The atmosphere in this is so impalpable, so nauseating, so dreadfilled. It is so thick, so evil, you can feel a wickedness creep and permeate over every sound and movement. It surrounds. It festers.
You will think you have felt real evil, and then you will think you have felt real horror
Each of the main characters suffer greatly by the time the credits roll, and their pain is exceptionally amplified to powerhouse performances across the board. Anya Taylor-Joy plays Thomasin, the eldest child of the family who her family grows suspicious of after their newborn disappears. As the family struggles with crops and money, more pressure is put on Thomasin to console her siblings as the parents grow distant. Coupling this with her own development and growth as woman causes her to revolt against the ideologies of her parents, further heightening their suspicions. The position she finds herself in is akin to the Salem witch trials, knowing she is innocent but also knowing that something sinister is indeed happening on the farm. She goes through Hell watching her family decompose and turn on her, leading to a horrifying but “uplifting” end to her story where, in a sense, everyone gets exactly what they asked for.
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Reviews for "Anastasia Magic Concealer: The Ultimate Solution for Tired Eyes"
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