The place where womanhood and parenthood meet is marked by a complex and intrinsically difficult set of rules and understandings.
One has to peel back a few layers of accreted cultural criticism to get to what The Witch actually is, as a film.
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.
How can I put into words what it’s like to see your very soul—ragged and yearning—scattered across the screen?
Andrea Arnold is forging a kind of egalitarian filmmaking, where the individual efforts of each and every collaborator pull equal weight.