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Isolation and horror truly do make for natural bedfellows. The act of removing oneself from society promises a sort of freedom, but also an obvious state of naked vulnerability. To march into the wilderness is to give up the safety net of collective strength and the emotional support offered by civilization, relying entirely on one’s own prowess. And unfortunately, it’s all too easy to overestimate that strength, and never realize it until it’s already too late.
Soon, the family’s baby boy has gone missing, and talk of the unholy rears its ugly head.
Thrust into this slowly building mania and accusatory hellhole is Thomasin , a young teenage girl on the cusp of womanhood, about to fully enter a society where only rigid oppression seems to await. It’s clear from the start that there’s no future here for Thomasin, nor any of the other children, really—they’re just pieces of chattel who would presumably grow old on the makeshift farm, supporting dying parents until they themselves succumb to a strain of illness or particularly crushing winter.
Faith, it is clearly pointed out, is no comfort here, in a land where even faith has been stripped of any comforting or redeeming qualities. Here, in the mania of religious extremism, the quest for faith and purity is so all consuming and reverent that there’s no room for tenderness or humanity in the experience. The God that Thomasin and her family pray to in this film isn’t the merciful, all-loving, beneficent creator deity who wants nothing more than for you to be comfortable “being yourself.
France Dernières Nouvelles, France Actualités
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