How can I put into words what it’s like to see your very soul—ragged and yearning—scattered across the screen?
One has to peel back a few layers of accreted cultural criticism to get to what The Witch actually is, as a film.
The place where womanhood and parenthood meet is marked by a complex and intrinsically difficult set of rules and understandings.
Andrea Arnold is forging a kind of egalitarian filmmaking, where the individual efforts of each and every collaborator pull equal weight.
The mind stutters when it encounters loss. Trauma is the great em dash of the mind’s storytelling impulse. This tension — between the comfort of meaning and the volcanic disjunction of emotion — troubles every frame of One More Time With Feeling.