By Andrew Montiveo.
Imperfect and occasionally clunky, its slow-boil tension, isolation-driven horror, and cerebral elements make it a compelling watch….”
Recently, witches have become conduits for exploring folklore and collective fear, as in The Blair Witch Project (1999), where ambiguity reigns, blurring the lines between reality and myth. These varied depictions showcase the witch’s versatility as an icon, adapting to cultural shifts and evolving storytelling styles.
The North Witch (2024) leans into the enigmatic and supernatural allure of witches, blending folklore with psychological horror. The film follows Madison (Anna Shields) and her friend Gemma (Jessy Holtermann) on a quest to locate an accursed cabin said to reappear sporadically in Canada’s Barren Lands. When their group is scattered during a storm, Madison finds herself alone in the foreboding cabin, where she soon discovers she is not as isolated as she appears.
Directed by Bruce Wemple, a New York-based filmmaker renowned for his work in indie horror and science fiction, The North Witch continues his exploration of atmospheric, slow-burn storytelling. Wemple’s previous films, such as Dawn of the Beast (2021) and Monstrous (2020), often center on the pursuit of legendary entities lurking on the fringes of civilization. Co-writer and lead actress Anna Shields, a longtime collaborator of Wemple’s, adds depth and nuance to Madison’s character while contributing to the film’s hauntingly crafted script. Their creative partnership shines in The North Witch, exemplifying their shared talent for delivering tension-filled, character-driven horror.
Set in Canada’s northernmost territory, The North Witch creates a tense and chilling atmosphere. Most of the film unfolds in the eerie “Barren House,” a large yet claustrophobic cabin where Madison feels both trapped and exposed. Injured and alone, she is isolated by the harsh climate and her debilitating wound, which oozes black liquid, adding a gruesome, unsettling element to the story.
Despite its modest budget, the film shines through Bruce Wemple and Anna Shields’ compelling storytelling and psychological depth. When Madison is eventually joined by fellow traveler Talia (Kaitlyn Lunardi), her desperation only grows as Talia attracts the house’s strange, possibly supernatural forces.
The film’s cerebral tension invites viewers to question its reality: Is Madison a victim of the titular North Witch? Is she imagining the horrors within the Barren House? Or could she be the villain herself?
Yet, the narrative falters under the weight of its creative shortcomings, relying on convenient plot devices like a solar-powered, signal-less smartphone for video logs and a conveniently crippling injury that keeps Madison confined.
Despite these flaws, The North Witch stands as one of Wemple and Shields’s most ambitious projects. It’s imperfect and occasionally clunky, but its slow-boil tension, isolation-driven horror, and cerebral elements make it a compelling watch and a promising step forward in their collaborative evolution.
The North Witch is available to stream On Digital and On Demand.
Andrew Montiveo is a Los Angeles-based writer. He has contributed to Bright Lights Film Journal and Cineaste.