A Dark Song
A grieving mother and an occultist doing a months-long ritual properly. The tedium is deliberate.
1922 onward · 21 films
Rural, female, and usually persecuted by exactly the people the film sides against.
Witchcraft horror splits cleanly in two: films about witches who are real and dangerous, and films about communities that murder women for no reason. The second group is bleaker and generally better.
Benjamin Christensen's Häxan (1922) is a Swedish-Danish essay film about witch trials, with staged reconstructions of sabbaths that were shocking enough to be banned in the United States. Its argument, that the accused were mentally ill or simply poor and inconvenient, was ahead of the scholarship by decades.
Michael Reeves' Witchfinder General (1968) has Vincent Price playing Matthew Hopkins straight, with the camp switched off, and it is the best performance he ever gave. The English countryside is shot in summer sunshine while people are tortured in it. Reeves died at 25, the year after.
The Witch (2015) does the same period with obsessive accuracy, most of the dialogue taken from court records, and then commits fully to the supernatural in the last ten minutes.
Argento's Suspiria (1977) is barely about witchcraft and barely has a plot. It was one of the last films printed in three-strip Technicolor, which is why the reds look like nothing shot since.
Witchcraft and folk horror share most of a border. Filed here: the coven is the threat. Filed as folk horror: the community is.
Open a chatbot with a question about this already typed out. Useful for a second opinion, a plot detail, or working out which cut you are holding.
A grieving mother and an occultist doing a months-long ritual properly. The tedium is deliberate.
Mexican nunsploitation with an actual argument, and everybody in it screams for eighty minutes.
Bava could not afford colour and made the best-looking gothic ever shot. Barbara Steele's face did the rest.
Cursed cave dwellers from 12,000 BC eating people in modern Los Angeles. Incoherent throughout.
Made by one family during lockdown for almost nothing, and it looks better than films with fifty times the budget.
A film about grief that turns out to be a film about a cult. Toni Collette should have won everything.
The Suspiria sequel. Less coherent, more beautiful, and has the best underwater sequence Argento shot.
The runic parchment, the smoke on the railway line, and a monster the producer added against the director's wishes.
Not a remake so much as an argument with the original. Colder, longer, and about postwar German guilt.
Something is dug up in a field and the village children form a cult. One third of the unholy trinity.
Christopher Lee as the hero for once, and the best script Hammer ever filmed.
Ken Russell's best film, cut in every territory it has ever played, and still not properly released.
Peter Cushing as a witch-hunter who is worse than the vampires, and the Collinson twins were Playboy's first.
The only horror film made in the Soviet Union, and the last twenty minutes are extraordinary.
Seventeen children leave their houses at 2.17am. Cregger structures it as overlapping chapters and it pays off.
A Macedonian witch story told as a Malick film, and it is about what it is to be a person.