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One day on Halloween, last year, I watched Head Count (on Hulu at the time; it is now available on Amazon Prime). I appreciated the concept of the movie, while the acting was adequate, the directing was outstanding and made me appreciate the movie for what it was (it is charming). I was not aware that Elle Callahan had written and directed it, and it wasn’t until much later that I realized that she will be premiering another gem at SXSW 2021, Witch Hunt.
- Written & Directed by Elle Callahan
- Starring: Gideon Adlon, Abigail Cowen, Elizabeth Mitchell, Cameron & Nicholas Crovetti, Christian Camargo
- Cinematographer: Nico Aguilar, Tommy Oceanak
- Producer: Eric B. Fleischman, Maurice Fadida
- Executive Producers: Diane Gooch, Mickey Gooch, Jr., Andre Druskeit, Victor Shapiro
- Music: Blitz // Berlin
- RT: 97 minutes
Head Count was a grand concept, so obviously I presumed Witch Hunt would be too when I saw it. Originally, I thought the film would be thrilling, but it ended up being frightening and much scarier than I expected. I am usually not intimidated by the horror genre at festivals, but this one got me in a few areas. I am not a jump scare person, but the sequence where Claire wakes up from her nightmare and Shay sleepwalks — or is sleep-sitting on her bed — is a frightful one. However, I think Elle Callahan says it best:
I feel it’s my responsibility as a genre filmmaker to use my art to call attention to what I see around me and weave it into my own stories. As a piece of art, Witch Hunt is a reflection of my love for magic and a projection of how I see the world today.
Callahan, Elle. SXSW 2021.
Witch Hunt Is A ‘Midnighter’ Narrative That Involves Witch Craft?
In some respects, it is a film about witchcraft in the 21st century where witches are alive and well, however they are also controlled as much as possible, living by themselves. Claire (Gideon Adlon) is living with her mother Martha (Elizabeth Mitchel), who is kind of a refuge for witches who are in transition to go “over the border.”
Many of them don’t always have the best of luck, such as Shae (Echo Campbell) and Fiona (Abigail Cowen; CHILLING ADVENTURES OF SABRINA, FATE: THE WINK SAGA), two sisters, whose mother was burned at the stake. Their mother was burned by Hawthorne (Christian Camargo), who is the ‘neighborhood’ witch hunter. There are other plots that tie into the structure, but without spoiling too much as we spoil later on, here is the official SXSW synopsis:
“In a modern America where witches are real and witchcraft is illegal, a sheltered teenager must face her own demons and prejudices as she helps two young witches avoid law enforcement and cross the southern border to asylum in Mexico.”
The Screenplay
From this point on, there may be spoilers, so please be aware as this is our feature review of South by Southwest 2021. This is a “Midnighter” Feature/Spotlight for SXSW. If you have yet to see it, check out Head Count, too.
The concept behind this movie might seem unbelievable, but it works really well. The past ten years have given us witches a bad name; however, within the last two years, we have rediscovered our standing. Witch Hunt is the first film, in quite some time, to feature witch lore, at least seriously. It has been a while since we have had the appeal of The Craft. There are plenty of parodies and B-movies.
What stands out about Witch Hunt is that it emphasizes not only witches but the notion of witches as a minority, which raises the level of discourse unavailable in an ordinary modern-day tale. Witchcraft is one thing, but establishing witches as “other” is always a motif I have wanted to see in some form. It imparts a sense of humanity to the characters. You are attracted to them as a result of who they are and who you may be as well. While I was watching I felt a connection to Fiona because I am a minority in real life. Not in the same regard, but I guess in many ways it is relatable. The idea of social equality is a constant battle people face on a daily basis, so to have that in Witch Hunt about witches is wonderful and in a horror film nonetheless.
I have to say, the scares I experienced were quite jarring, and the ghost witches were especially disturbing in the best way. Witch Hunt features a mixture of good writing, at times challenging, and, at other times, patchy writing — but none that hinders the overall screenplay. I found that the patchy parts were parts I could understand afterward. Even though they didn’t stick for me, they still worked anyway. However, I felt that several of these areas could have had more dialogue or had a few more minutes to provide a bit more mise-en-scene. In an hour and a half, I would have preferred to see a more comprehensive transition from Claire being a witch to her mother realizing it and then to her crossing the wall. I felt, toward the end, it was abrupt. (But, looking back, that could just be me wanting more because I enjoyed it.)
Not jarring, but missing a few pieces of mise-en-scene. Having said that, I thought the screenplay was impressive, so perhaps I was being selfish in that I wanted more of a story between Martha and Claire when she discovered she was a witch. Where they stopped, outside of the house, or in the last ten minutes of the conversation, is where I felt there could have been more or more dialogue presented to illustrate the conversation in its entirety. I wish characters like Jacob (Treva Etienne), who disappeared after the character’s introduction, could have been re-introduced. After the second act, I felt it was left in the first act, however, I liked the overall psychological concept of Martha and her family as a sort of “witch safe haven house.”
I adored the idea of the water company and the concept of the witch being put into a box and transferred in some way. That concept was really great; I would have loved to find out more about how that works. Although movies are subject to time limitations, for future concepts, that idea is really gnarly. A consistent theme in Callahan’s work is that “people are not who they claim to be.” If you have seen Head Count, the film’s central focus is on a member of the group who isn’t actually part of it. This also appears in Witch Hunt, but I will not tell you with whom. It is a lot of fun when you see it (I said “oh sh-t” out loud when I did). That consistent early auteur is wonderful because the motif alone is quite horrifying. Callahan does an excellent job in integrating that motif with an atmosphere that is terrifying. It worked in both films. It is subtle but it is terrifying.
The Directing, Cinematography, & Editing
The one thing I loved about Head Count is the directing; I think Callahan has an incredible approach to horror directing. The general concept I enjoyed about Carpenter’s Halloween inspired me to appreciate Callahan’s work since both films succeed in their own right especially directing-wise in the horror realm. Not so much a slasher, but the directing, specifically, is where I see similarities. When you know someone is destined to be a horror director, you can just tell. I think Callahan has a passion for horror that is evident. Callahan’s directing is always consistently good; there are a few tracking shots that I absolutely love. Callahan does this interesting thing, using a tracking shot while including a jump scare. It is terrifyingly remarkable.
One of the examples is when Martha answers the door, and as she closes it, a short pause takes place, but shortly thereafter the camera starts to follow her as she turns around. As this happens, Fiona and Shay are standing there. It is jarring but so frightening. It is in Witch Hunt’s directing that makes it one of the most impressive screenplays ever. The sequence where they are dumped into the pool is exquisite. I enjoyed that sequence quite a bit when Claire and the others were looking in at the “witch hunt” in real-time — or at least how they decide who is a witch and who isn’t.
I also enjoyed the sequence that seems to be unfolding between Claire and Fiona after they have performed magic. The “Barstool Sequence,” is what we will coin it, was a fantastic sequence. Just for suspense, perception, and passion. The sequence that follows when Fiona is crying is enchanting, and I felt it as deeply as to how it was written. In Witch Hunt, there are also surpassing transitions that occur by virtue of a door closing, a locker closing, or a change of clothes. I love when transitions are seamless or have a sense of seamlessness to them. It makes it scarier when everything is so sound in a horror film, the directing is part of the reason you’re frightened — alongside the mise-en-scene and the screenplay. I think the cinematography and the color palette in this film are outstanding as well.
It is challenging to have a horror film “appear vivacious.” This is a very tricky obstacle because you want to showcase everything to the audience, but it should also look dark, just as in reality. I thought the dark to light was fantastic because I was able to see everything; in some horror movies you can’t even see, but this one was fantastic in that respect. It wasn’t too dim that you could not see anything, but it wasn’t so bright that those witches gave you nightmares (you couldn’t see everything). Generally speaking, each section of the film worked cohesively. You can tell each part of the filmmaking process was established creatively. The overall theme of the film was demonstrated by how well these aspects interact with each other. With respect to the success of this film, it is in large part due to its close relation to reality; what transpires in real life is very similar to what transpires in Witch Hunt, and perhaps the best movies have a larger conversation about society (such as Get Out). Perhaps that is the most terrifying aspect of all: that we are so similar to witches, yet we don’t even know it.
The Acting
I found the acting rather enjoyable. It started out newfangled, but after a couple of minutes, it begins to get its bearings. I found the first ten minutes to be jarring, perhaps because you are getting to know the characters quickly and what they do. It all makes sense, but it was jarring when it didn’t. I thought each of the characters did their part fantastically; Clarie (Gideon Adlon), though she doesn’t talk as much as the others, did a fantastic job as the lead. A truly outstanding performance and I did predict her ending at the beginning since I knew she would kick-ass. But Shay (Echo Campbell), Martha (Elizabeth Mitchel), Fiona (Abi Cowen), and other supporting characters are just as impressive. I consider this to be a powerful feminist movie; it highlights friendship, politics, relationships between mother and daughter, and how to be and exist in the world by doing what one desires to do. I believe one must be singularly true to themselves rather than following the opinions of others.
Claire, for example, sees witches as “evil” simply because that is what she sees around her, but are they? She needs to make that decision for herself, and she does so at the end of the film. It is wonderful to see all women assumed leadership roles in a horror film, but it is especially special when they are allowed to act as they do. They are not being tortured or murdered; they exist as human beings who believe in what they believe in and also grow. They also live to see the end of the story, which is still a rare occurrence without some form of torture. To have a satisfying ending for most of these characters, mainly, is quite refreshing. To have Claire save the day, figure out who she is, and strive to achieve that… that’s extraordinary. Rarely seen and unforgettable. It is incredible what female filmmakers can accomplish in the horror genre, and this movie is a fantastic example of that.
So… Is Witch Hunt (2021) Your Next Letterboxd Add?
What a gem to see at SXSW 2021. Elle Callahan is a name to keep, remember, and take notes of. I have enjoyed what has been released so far and am in love with the motifs, the concepts, and the directing. Based on the two films I have seen, it is clear what a pleasure Callahan takes in filmmaking, horror filmmaking. She creates the most refreshing horror concepts with the most frightening aspects of living and they are good. (You can have entertaining concepts and scary movies, but they are not always good.) I am excited for another release from Callahan, whenever that may be. Witch Hunt could be the best 2021 release so far; which makes it an ideal movie to watch for our first viewing at SXSW 2021. Enjoy the witchy vibes and try not to get scared when the witch… you know what, you’ll see it for yourself.
