By turning fantasy into reality, The Witch exposes society’s fear of female sexuality

After years of vampire and zombie supremacy, witches have clawed their way out of those beguiling Blair Witch woods and back into the horror mainstream. Which is a huge relief for anyone who, like me, can no longer look at a zombie for more than three minutes without becoming, well, zombified. And Twilight has done such a number on vampires that the poor bastards may never be scary again.

Witches, however, make fascinating and versatile horror adversaries.

Director Robert Eggers’s debut feature, The Witch, is a deeply unsettling collage of New England folklore with – horror of horrors – some surprisingly feminist themes.

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Set in mid-17th-century colonial America, a time and place where women were forced to dress up as sofas and were generally loathed and mistrusted, the film follows a fresh-off-the-boat English family who have been banished from their puritan community for being, it seems, overly puritanical.

Finchy from The Office (Ralph Ineson) makes an unexpectedly compelling scripture-spouting puritan dad. Ineson is, of course, a professional gruff Yorkshireman slash some sort of stretched-out Sean Bean. He was made to play characters built on the very worst facets of masculinity.

Read More – By turning fantasy into reality, The Witch exposes society’s fear of female sexuality – NewStatesmanAmerica

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