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Back when the words from The Bible are the only source of knowledge and boundaries for morality, Thomasin's family tries to evade the sins that will punish their soul existence but paradoxically, every one of them represents the quintessence of the sins that they try to pray away. Robert Eggers always finds a way to use the ethics of his characters to create a climactic end that never seems so happy, sad, nor bittersweet, but in a way, justified and vindicated. Hatred is building up to the first part of his integral exposition, and no continuation of scene fells lower in pressure than the moment behind it; it's storytelling as its finest. And the level of ingenuity of how he uses historical facts of old theology to weaponize the meaning of his setting, characters, and story, is just beyond the imaginations of what his premise says. The Witch is, without any form of exaggeration, the ceiling of modern, arthouse films.
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