The Witch (2015)
The Witch (2015) — Dir. Robert Eggers
It might seem odd to select the 2016 horror film, The Witch, as a film for a series on spiritually significant films from the past two decades. Perhaps to your surprise (and mine), The Witch is one of the most layered and complex theological explorations to come out in recent memory—alongside the usual suspects of Silence, First Reformed, and A Hidden Life.
The State of Horror Movies
The horror genre is in the midst of a bit of a revival during the past decade. After the found footage boom started by the Paranormal Activity franchise, much of Hollywood studios’ horror efforts are defined by more conventional horror like the haunted house/demon possession franchise of The Conjuring. (There have been some interesting burgeoning trends like social commentary horror by Jordan Peele like Get Out and Us that could influence future horror). In contrast, independent studios began to explore period pieces, metaphorical thrillers, and psychological/existential horror. No studio has been more successful at this than A24. A24, an independent studio which began releasing feature films in 2013, has become the gold standard for independent cinema in the eyes of critics and cinephiles alike. They’ve cranked out Best Picture winner Moonlight, as well as hits like The Florida Project, Lady Bird,, Room, The Disaster Artist, and Uncut Gems. For many, they are best known for their growing catalogue of horror and thrillers—Hereditary, Midsommar, The Witch, The Lighthouse, It Comes at Night, Ex Machina, and Under the Skin come to mind. Their commitment to the director as the primary creative artist behind the film has proved to make for unique horror steeped in fascinating time periods and themes. Directors like Ari Aster and Robert Eggers are the standout examples.
The Setup
The Witch was released in 2016, written and directed by Robert Eggers (who also wrote and directed 2019’s The Lighthouse). The Witch (subtitled “A New-England Folktale”) takes place in 1630s New England and follows a colonial English family after they were kicked out of their Puritan colony due to a theological disagreement. While the theological debate isn’t precisely spelled out in the initial banishment scene, the tone is set that the film will be deeply Puritan and theological. The family of 7(father William, mother Katherine, daughter Thomasin, son Caleb, twins Mercy and Jonas, and baby Samuel) is now on their own in the mysterious wilderness of New England; they are strangers in a strange land.
The Production
What makes The Witch an impressive cinematic achievement is its ability to steep the viewer in a specific time and place. The script and dialogue were lifted from authentic Puritan and colonial writings from the period, the production design and costuming were made with great attention to detail and accuracy. Museum curators, historians, builders, and experts were utilized to achieve this specific feel.
Plot Spoilers Below…
The Plot
Now living in a newly built farm next to a nearby forest, the infant Samuel mysteriously disappears under the close watch of the eldest child, Thomasin. In one of the most difficult scenes to watch, it’s revealed that the child has been killed by a witch. The aftermath of Samuel’s death includes intense grief, prayer, spiritual doubts, questioning Thomasin, and uncertainty concerning the salvation of the baby—a real theological issue facing many Puritans of this time period when infant mortality rates were much higher. The intensity increases when Caleb (hunting with Thomasin) is lost in the woods and seduced by an attractive woman—who abruptly turns into an old disturbing witch. Caleb returns in a delirious state only to confess his love for God and die. The family’s suspicion towards Thomasin evolves into blame and guilt; they suspect it is she who is the witch.
The Application
I won’t spoil what takes place next in much of the third act of the film, but Thomasin finds herself finally face-to-face with what the viewer can only guess is Satan himself. Rather than appear to be horrifying, ugly, or evil, he comes across as handsome, charming, and enticing. He asks Thomasin if she wants to “live deliciously” and offers her bread with butter. Throughout the entirety of the film, the family’s religion has been devoid of joy, contentment, and love. They are overly austere and consumed by both doubt and fear. This is a common depiction of Puritans in books, movies, and wider pop culture. My high-school English class comes to mind reading The Scarlet Letter, as well as my AP U.S. History class’ discussion of the Salem Witch Trials. This is an unfortunate depiction of negative events that took place in the American colonies but does not categorize the wondrous writings and spirituality of the Puritan greats like John Bunyan, John Owen, Richard Baxter, Richard Sibbes, and others. These are preachers and writers who rejoiced deeply with the happiness and joy of the Holy Spirit, and the satisfaction of salvation in Christ. (I’ve linked a couple books and articles in the resources at the bottom of the post.) However, this family’s religion is based solely on fear and guilt. Scripture speaks of love, joy, and freedom as characterizing the Christian life. John Piper’s thesis for the Christian life is, “God is most glorified in us when we are most satisfied in him.” This Christian Hedonism seeks to place happiness and joy at the forefront of Christian spirituality, while still maintaining the reality of trials, darkness, and struggles that continue to plague a broken and hurting world. The rigid and joyless Christianity found in The Witch is void of being satisfied in God. The Satan character in the film knows Thomasin is looking for satisfaction and happiness. He offers her what her family’s religion cannot provide – “to live deliciously.” I couldn’t help but think of Satan’s temptations to Jesus in his 40 days in the wilderness and how similar it is to Thomasin’s temptation. Satan and the demonic are often portrayed in popular culture and entertainment by one of two extremes – either a light-hearted red man with a pitchfork or as explicit demonic activity in films like The Exorcist. What is rarely depicted is Satan appealing to our own longings and hopes. The New Testament describes Satan as an “angel of light.” (2 Cor. 11:14) Satan is the “father of lies” (John 8:44) and the Deceiver. He preys on Thomasin and her family’s fears, but also their hopes, and that is one of the best aspects of this good horror film.