Robert eggers’ astonishingly assured new-england folktale isn't always fucking round. And, just to make certain you recognize that proper from the begin, one in every of its first scenes unearths a demonic hag — the pores and skin on her lower back painted with the mild of a full moon — stealing a baby from the puritan family that’s been exiled to the fringe of her forest domain and crushing the kid into bits with a pestle and mortar.
There are any range of motives why “the witch” is any such giddily perverse experience (the director’s kubrickian rigor and his fetish for duration info no longer least among them), but the film is ultimately such a startling sight to behold due to eggers’ instantly-faced commitment to the bit. He leans into the fears and fascinations of 17th century existence and he leans into them difficult, and that unflinching method makes it feasible for modern-day viewers to accept as true with inside the energy of the satan, and the goat that could serve as his messenger. Tie it together with a cross-for-broke finale, throw in a celeb-making anya taylor-pleasure performance into the combination, and also you’ve were given a brand new american conventional that trembles with the echoes of the first horrors visited upon this country.