Moreover, things keep getting worse, as their harvest of corn goes bust and, without the safety of the plantation, the family is in danger of starving to death during the winter. What follows is the crux of the film’s conflict: the family struggles with the disappearance of the child while attempting to maintain their faith in God in light of such a tragedy. Suffice it to say, Eggers conjures the film's physical antagonist in such a way that you’re left both wanting to see more of her and never wanting to see the character again. The audience is then introduced to a cloaked figure running with the baby through the woods-the titular witch-and what happens next is unspeakable. William welcomes the chance to leave the plantation and practice his strict adherence to the Lord on his own, moving his family to a remote cabin near the foreboding woods.Įarly in the story, daughter Thomasin ( Anya Taylor-Joy)-verging on becoming a woman herself-is playing peek-a-boo with the family’s baby near the treeline when, all of a sudden, she opens her eyes to see the boy is gone, with no trace of where he went. Set in 1630 New England, a generation before the Salem witch trials, the film revolves around a small family that has been excommunicated from its plantation due to father William’s ( Ralph Ineson) outspoken objections to what he sees as the community’s lax religious principles.
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