With the release of The Witch and It Follows, 2015 was an exceptional year for the horror genre. The Witch, Robert Egger’s directorial debut proved to be the more provocative of the two; not surprising, given that Puritan oppression as horror strikes close to home. Even more predictable is the expansive hatred for such an original film by formula horror fans. They’re a tribe of Neanderthals, too obtuse to recognize one of the ballsiest film of the last decade.
The Witch‘s subtitle tells us it’s “A New-England Folktale,” set in the mid-seventeenth century. It opens with family patriarch William (Ralph Ineson) banished from this Puritan paradise for unclear reasons. Like Adam and Eve, William and his wife Katherine (Kate Dickie) are forced to flee to the wilderness, a forest setting that recalls numerous fairy tales. With them are their children, Thomasin (Anya Taylor-Joy), Mercy (Ellie Grainger), Jonas (Lucas Dawson), Caleb (Harvey Scrimshaw), and the infant Samuel.
Like most evangelical sects, William’s religion practices a type of anti-ritualism (setting them apart from liturgical competitors); but, as we see from his dialogue with Caleb, a ritualistic anti-ritualism ritualism sets in. Caleb is a willing subscriber.
Along with the rituals comes Puritan oppression, and a superstitious anti-superstition soon rears its horrific head. Thomasin, left in charge of Samuel, entertains him with a game of peekaboo, but on the fourth uncovering of her eyes, Samuel has vanished.