#the witch 2015

[shesalittlelost]

The Witch (2015) was so haunting and beautiful and so disturbing. When thomasin jokes about being a witch who dances with the devil she has no idea that she's basically telling her future. This sense of inevitability of her fate is really what sells the horror. Like there's really nothing the girl could've done to escape that because the moment they stepped out of the plantation, alone with nothing but their faith in a god that had no power out in the wild, where “devil” ruled, they were doomed. I like that this movie shows how belief in seductive witches straight out of some fairytale bred hysteria that spread like poison and destroyed a whole family but also kind of justifies their fears by making the evil satan worshipping witches actually real in that world.

In the end, it really is about how people end up making the very thing they fear a reality by their lack of compassion & trust in their kin and how sometimes the most wicked start off as innocent people, ostracized by the society and pushed to become what they're now.

[anyataylorjoys]

THE WITCH (2015) dir. Robert Eggers

[ladiesblr]

THE WITCH (2015) dir. Robert Eggers

[ennislamore]

The VVitch, 2015, dir. Robert Eggers

[apoloadonisandnarcissus]

The audience reception and discourse around “Nosferatu” (2024) is a warning to creators and artists: having your work misinterpreted is the price for going mainstream. And it’s hilarious seeing so many folks actually believing Robert Eggers’ intention with his ending is for his Ellen to “defeat” and take revenge on Orlok, when this is the second film he makes where the destructive and perceived evil Pagan force symbolizes his lead female character empowerment, vengeance and liberation from oppressive and patriarchal Christian society who shames and ostracizes her. Both which end with the protagonist selling her soul to said evil, as they join him in an eternity of “deliciousness” and pleasure, after he kills almost everyone around them. The OST for Ellen and Orlok’s “wicked sacred marriage” and death scene is called “Bound”; no covenant was broken here.

If you really think Eggers has any intention of glorifying Christianity in his “Nosferatu”, you clearly know nothing of his work, because every single one of his films are deeply anti-Christian, and this no different. And he said it himself: “My influences are all very clear, and Nosferatu is a remake, after all,” Eggers says, yet he plays with the canon, with expectations and clichés – “hopefully subverting them to do something unexpected.” Most of you fell for his trap, and only saw the cliché. He didn’t even want to include that last look between Thomas and Ellen, he probably had to because of studio pressure, or to mess with your heads even further.

Robert Eggers said it countless times, his “Nosferatu” is a “demon lover story”, and a Gothic Romance based on Catherine and Heathcliff from “Wuthering Heights”. In his “Nosferatu” his Ellen wants Orlok, and they end up together, for all eternity. She’s not letting anyone put a “spike of cold iron” through her demon lover, sending him somewhere she cannot reach him, and that’s when she accepts him.

Ellen and Orlok’s obsessive and all-consuming passion is not only self-destructive for them, but everyone around them, and only stops when they are both dead in the physical world and reunited in the spiritual realm. Ellen calls out for Orlok the entire film, she’s a dark character (like every Gothic female character), she’s selfish, complex and nuanced. She plays both Orlok and Thomas and weaponizes them against each other (exactly like Cathy with Heathcliff and Edgar), she wants to fuck around with Orlok/Heathcliff while being married to socially acceptable Thomas/Edgar. She says one thing and does the opposite; she’s been summoning Orlok to Wisburg, and when he’s there she claims to hate him, which causes Orlok to threaten to kill Thomas in return. They are both toxic (it’s not just Orlok). And Thomas is the “damsel in distress” here, caught up in the middle of something he doesn’t know nor understands, and gets his entire life wrecked as a result of both Ellen and Orlok’s actions (like Edgar himself).

Most don’t see this because they think of Ellen as this cardboard victimized character with no agency whatsoever or some nonexistent “Christ-like Madonna” when she’s the embodiment of a dual-natured Pagan spirit, like Orlok himself. She’s the “enchantress”, he’s the “black enchanter”. She starts this film performing black magic (necromancy), when she resurrects Orlok; and ends it with a Şolomonari Sex Magick ritual to break the curse of Nosferatu (which is the whole point of her willing sacrifice). They are the witch/wizard archetypes.

[haveyouseenthismovie-poll]

[demigoddessqueens]

All hits and no misses, Robert’s medieval knight film is gonna EAT 🔥🔥

[seasonofhorror]

THE WITCH

2015, dir. Robert Eggers

[woman-of-whoredom]

The Witch 2015 dir Robert Eggers

[manchesterau]

the witch x danandphilcrafts

[targetedknowledge]

[vibe-stash]

The Witch (2015) Director: Robert Eggers Cinematography: Jarin Blaschke Production Design: Craig Lathrop

[swan-of-saraswati]

Dir. Robert Eggers

[apoloadonisandnarcissus]

How do you feel “The Witch”, “The Lighthouse”, and “Nosferatu” are connected?

Robert Eggers: I have a primal narrative that comes out. It's not something that's designed, it just sort of happens. Everyone likes to die naked and insane…! I'm interested in folklore, mythology, fairytales, and archetypal stories.

The Allure of the Macabre: Robert Eggers Talks ‘Nosferatu’ - Script Magazine