It’s also an unabashed period piece - identified in both credits and promo materials as “A New-England Folktale,” it’s set during the same period as the Salem witch trials, and its characters speak a dialect so accurate and Northern English-thick that it really does need subtitles. (Other examples of this include Jennifer Kent’s The Babadook and Trey Edward Shults’ It Comes at Night, of which a friend of mine once complained: “Ya know what comes at night, exactly, in that one? Fuckin’ nothing!”) Like most films that end up in this category, The Witch is extremely serious about its business and tends overall towards subtle mounting despair rather than jump scares and grand guignol. horror that people who normally only watch art films don’t have to feel bad about liking. Long before Ari Aster’s Hereditary, it was briefly the front-runner for the debatable genre of “elevated” horror, i.e. Gemma: So - am I right in thinking most horror fans these days must have either seen Robert Eggers’s 2015 debut feature film The Witch, or at least heard about it? For a while there, it was a mark of coolness either to love it or hate it. Welcome back to The Kasturi/Files here at Speculative Chic! It’s Day 27 on the merry road to Halloween! Join us for more film discussion, book recs, and drinkies from Sandra Kasturi and Gemma Files! One of the movies we’re talking about today is from 1966, so you don’t get to complain about spoilers.
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