The Uncanny and Folk Horror: Exploring The Witch as a Film Director
The Witch (Eggers, 2015)
‘Yesterday I was in the kingdom of shadows’ Maxim Gorky
Cinema is inherently uncanny. At the beginning of cinema the Russian writer Maxim Gorky, described his experience of witnessing the fabled screening of L'Arrivée d'un train en gare de La Ciotat in 1896 as ‘This is not life but the shadow of life and this is not movement but the soundless shadow of movement.’
(All these people are dead)
French theorist and philosopher Roland Barthes added to this idea half a century later in Camera Lucida where he described photography (and by extension cinema) as a form of ‘absent presence’ where a photograph (or frame of film) shows us an image - a seeming reality, once captured and now absent - that simultaneously exists and doesn’t exist at the same time.
The vast majority of mainstream films, however, strive to hide the uncanny nature of the medium. The focus has been on entertaining audiences through spectacle and neatly tied up narratives. There are, however, some films - mostly in the horror genre - that have demonstrated both the potential for cinema as a means of conveying a sense of the uncanny, and an audience’s appetite for it. My intention with this research was to dig down into a successful modern folk horror film, The Witch (Eggers, 2015), deconstruct a specific key scene that provokes an uncanny effect and undertake a focus group screening to see if audience reactions correspond to mine. It is hoped that by doing this I could get a stronger sense of how uncanny thematic elements can be communicated practically within a folk horror film, how that matters to film viewers and use this knowledge going forward on personal film projects.
The Slippery Nature of the Uncanny
The Witch (Eggers, 2015)
One element that both the uncanny and folk horror share is a focus on a blurring of boundaries and existential uncertainty. Peculiarly, this uncertainty seems to extend to the very definitions of the terms themselves. It therefore seems best to start with examining how they have been defined.
According to the Oxford English Dictionary, the word uncanny is an adjective defined as ‘…strange or mysterious, especially in an unsettling way’. The OED dates the word’s origin to the 16th Century where its original Scots sense was ‘…relating to the occult, malicious’ This definition is quite vague - something Freud had a problem with when writing his own essay on the subject, The Uncanny (1919). According to Freud, fright and dread are often a product of an encounter with something unknown and unfamiliar - but, for the uncanny, this is not enough. Freud (disputing a previous essay into the uncanny by Jentsch) argues ‘Something must be added to the novel and the unfamiliar if it is to become uncanny.’ Freud’s explorations led him to focus on the German word unheimlich (‘unhomely’ in English) as a fitting definition for that which ‘…evokes in us a sense of the uncanny’.
Annabelle (Leonetti, 2014) The Dead Zone (Cronenberg, 1983)
In her book, Heidegger: On Being Uncanny (2009), Katherine Withy explains that ‘Freud argues that what is distinctive about the uncanny feeling is that it is not merely a sense of unfamiliaritybut a sense of unfamiliarity that includes a sense of familiarity. It is the stirring of a normally repressed element within our psyche that contributes to a sense of the uncanny. Freud argues that what is repressed are parts of our infantile psyche. These can be both infantile desires and fears (such as castration) through to infantile beliefs (the blurring of a distinction between animate and inanimate objects, a fluid sense of self, a belief in the omnipotence of our thoughts, magical thinking, etc).
Ringu (Nakata, 1998) Malignant (Wan, 2021)
Annabelle (2014), The Dead Zone (1983) , Ringu (1998), Malignant (2021)…from a filmmaking perspective there is a long list of films that utilize uncanny elements in the horror genre. Nicholas Royle gives an exhaustive list of uncanny symbols and occurrences in his book The Uncanny(2003). Examples include ‘…curious coincidences, fate, fear of losing the eyes or genitals, missing or prosthetic body-parts, epilepsy, manifestations of insanity, mechanical or automatic life, trance and hypnosis, dolls, mechanical objects, death and corpses, cannibalism, live burial, return of the dead, deja vu, the double, silence solitude darkness, something that should have remained secret and hidden but has come to light'.
The Uncanny Valley
(Wikipedia)
One other aspect of the uncanny that should be mentioned is the idea of the ‘uncanny valley’. This was formulated by Masahiro Mori, a robotics professor from Japan in 1970. Mori created a graph to depict the odd fact that the more non-human objects or animals resemble humans, the more they appeal to us - that is, until they become too similar at which point the attraction dramatically changes to an uncanny repulsion.
This can happen in the world of 3D films as well, The Polar Express (2004) being a good example.
The Polar Express (Zemeckis, 2004)
The Uncanny Valley fits within Jentsch’s definition of the uncanny as that which sits between two categories (animate/inanimate, in this case) without being reconcilable in either. Whilst this is an area worth exploring from a filmmaking point of view it is not particularly relevant to an examination of the folk horror genre.
Folk Horror
The term folk horror was originally applied to films and television shows of the late sixties and early seventies by critics and fans. The idea was popularised after it appeared in Mark Gatiss’ excellent BBC4 series A History of Horror in 2010. Gatiss used the term in relation to ‘the unholy trinity’ of films that helped define the sub-genre: The Wicker Man (1973), Witchfinder General (1968) and Blood on Satan’s Claw (1971). Prior to that the director of TheBlood on Satan’s Claw, Piers Haggard, used the term in a Fangoria article from 2004, saying that he “…was trying to make a folk horror film…” though he may have picked up the actual phrase from Rod Cooper who used it in a 1970s review of Haggard’s film.
The Wicker Man (Hardy, 1973) WItchfinder General (Reeves, 1968) Blood on Satan’s Claw (Haggard, 1971)
The exact definition for folk horror has proved problematic and, like the uncanny, is defined more in terms of tone. Folk Horror: Hours Deadful and Things Strange (2017) by Adam Scovell is one of the first books to investigate folk horror from an academic perspective. Scovell outlines formal tropes that are often present in folk horror texts such as ‘…a sense of the arcane for eerie, uncanny or horrific purposes’ , ‘…a clash between such arcania and its presence within close proximity to some form of modernity’ and/or a work ‘…which creates it’s own folklore through various forms of popular conscious memory’ (Scovell). It seems clear from this that Folk Horror is a genre which deals with the blurring of borders - both literal and psychological. To see how this ties in with the uncanny we only need to return to Royle’s list of examples that goes on to include ‘…strangeness of framing and borders, liminality…a sense of repetition or ‘coming back’, unsettling of time and space, unsettling of order and sense.’
A Field in England (Wheatley, 2013) Midsommar (Aster, 2020)
The Folk Horror Chain
Scovell goes on to outline what he terms the ‘folk horror chain’ - a loose sequence seen to occur in many folk horror films. The chain, as Scovell outlines it, consists of a) landscape as an active agent b) isolation of key characters from modernity and social rules c) skewed belief systems and morality, either with protagonists as perpetrator or victim and d) a violent happening/summoning as a result of this skewing of social norms.
Scovell’s definition of folk horror can be summed up as a rupture within an existing social order by older pagan or occult forces and in this sense it fits neatly with Freud’s idea of the return of the repressed. Perhaps the uncivilised past that threatens in folk horror is not a historical past but a psychological one and folk horror taps into both the fear and attraction of earlier magical thinking and amoral infantile stages of development.
Uncanny Research Techniques
I undertook research that involved both critical analysis of the films and audience research to try to develop a methodology I could use as a director to connect my interest in the uncanny to specific film techniques.
Having watched a large number of folk horrors - both historical and recent films - I chose to focus on The Witch as I feel it demonstrates a strong sense of the uncanny and fits well within Scovell’s folk horror framework. It was also critically and commercially successful scoring 92% on rotten tomatoes and making over $40m worldwide on a $4m budget.
Scovell claims that The Witch is a high point in modern folk horror, pointing out that ‘…a key theme of many reviews of Eggers’ film is its reluctance to conform to such modern horror tropes as jump-scares, instead relying on the building of a slow, inescapable dread.’
I selected one pivotal scene for close analysis and broke down uncanny elements (outlined in Royle’s list). I examined mise-en-scene, ‘…what appears in the film frame’(Bordwell & Thompson, 1993), montage (editing) and use of music and sound and tried to determine how these were used in the expression of the uncanny.
I also showed the film to a focus group with a cross section of ages and genders and gave them a questionnaire to fill in afterwards with open questions designed to elicit emotional responses. A twenty-minute discussion followed to get feedback from the group as a whole.
Film Summary of The Witch
A zealot father, William, is banished from a New England settlement and leaves to build a house on the edge of a forest with his family - pregnant wife Katherine, eldest daughter Thomasin, son Caleb and twins, Mercy and Jonas. After losing their newborn son who may or may not have been taken by a witch whilst Thomasin was babysitting, the family collapses into a self -destructive group hysteria which may or may not be the work of the devil.
The Witch (Eggers, 2015)
In this film Eggers was deliberately looking to evoke an earlier historical worldview in the audience.
“What’s interesting in researching this was realizing that the 17th century real world and the supernatural world were the same thing—people really believed that evil witches were doing these things. That was part of the accepted reality of the day. So, it was interesting to try and make witches scary and potent again…” (Ifeanyi, 2016)
In addition, he is clear about his desire to take the viewer back to childhood again.
“The biggest thing that we’re trying to do in making the film transportive, aside from the world creation, is Jarin [the cinematographer] and I talked about how this has to be our memory of a Puritan childhood. We need to remember what dads smelled like in the cornfield and the way the mist the was like—it needed to be that personal in order for us to communicate this.” (Ifeanyi, 2016)
Whether Eggers intentionally sought to create a sense of the uncanny it’s clear he was aiming to reach a place in the audience where infantile memories could resurface, a pre-requisite for the uncanny affect to arise.
Key Scene Summary (Spoiler)
Caleb, previously lost in the woods, is on his death bed. The family pray for his soul as he becomes increasingly delirious. Hysteria develops and accusations of witchcraft are directed at family members, particularly Thomasin. The twins fall into seizures and go catatonic. After an evocative deathbed prayer Caleb dies.
The reason this scene was chosen for analysis was primarily because of the strong emotional affect it had on me as a viewer and how I saw it as a key moment in the narrative. It is at this point in the story when the hysteria of the family (or the evil forces at work) severs a link with reality. Eggers also sees this scene as pivotal to the entire film. As he explained to Fast Company magazine, “We knew that if that scene didn’t work, the rest of the movie was not going to work.” (Ifeanyi, 2016) The scene also resonated with the focus group. When asked what scene stayed with them after the filming, Caleb’s death scene scored the highest. They said the following:
“The scene when Caleb is bewitched – it was the climax, the mayhem.”
“Caleb’s death scene was incredibly powerful.”
“‘Exorcism’ – tense, exaltant, powerful.”
In discussion, one of the group summed it up nicely:
“…that scene which felt reminiscent of an exorcism….felt to me, like the kernel of the movie. Where the whole thing tips over into hysterical behavior. And the family have truly lost control at that point.”
The scene also matches with the final link in Scovell’s folk horror chain which he labels the ‘happening/summoning’. It is arguable that there are more graphic scenes after this point but these scenes are less ambivalent and therefore less affecting in an uncanny sense.
Close Scene Analysis
What follows is a breakdown of the uncanny elements of the scene and a description of the cinematic techniques used by Eggers and his crew.
Illness
The Witch (Eggers, 2015)
“In the case of sickness, there is not just something lacking but something wrong.”( Heidegger, quoted in Withy, 2017)
The sick and the diseased inhabit an uncanny space between the living and the dead. Caleb is dying. Visually we are told this through make-up: his skin is grey and pallid, almost rubbery. This is enhanced by the light which is bright, yet unforgiving with an off-white temperature. The light source in the scene is diegetically motivated by a stark window in the wall behind and high above Caleb’s head. This maintains a sense of realism. In cinematographic terms it is a hard key light which creates ‘bold shadows and crisp textures and edges’ which can be seen on Caleb’s face (Bordwell & Thompson, 2003). The contrast between this realism and the ghostly appearance of Caleb adds to a sense of the uncanny.
The Witch (Eggers, 2015)
The scene takes place in an attic and heavy dark beams lean in on each side, stuffed with straw (a symbol of the wilderness). The walls of wattle and daub are murky and stained - as are the crops that hang from the rafters - as if the illness (or pollution) affecting Caleb is in the very walls, and by extension the eyes of the spectator. Eggers’ choice of art direction here is a subtle way of reinforcing the idea that divisions between the interior (psychological) and exterior (real world) are blurry without crossing the line into fantasy and collapsing any sense of the uncanny.
Witchcraft
The Witch (Eggers, 2015)
Early on in the scene Caleb has a full-sized apple prised from his jaws by his father. The fact that the apple could not possibly fit in his mouth is unsettling and speaks of witchcraft. Witchcraft clearly inhabits both the world of folk horror and the uncanny. It is Freud’s view that ‘…carefully graded magical powers…’ are a common element of the uncanny as they are unquestioned on an infantile level (Freud, 1919) and liable to surface in adulthood under the right circumstances. The apple could also be said to have a parasitic nature - another common manifestation of the uncanny. Caleb is struggling with his pubescent sexual urges and it is through these urges that the witch sought to corrupt him. In the previous scene we see the witch approach Caleb in the forest as a beautiful woman luring him into her arms. The apple, a bloody and fleshy object when it is removed, could be seen as an embodiment of lust which the witch has infected Caleb with. Blood pours from Caleb’s mouth as it is removed and remains stained on his face throughout, further adding to his liminal state between life and death. Eggers chooses to linger on a medium close up shot of the apple as it lies on the floorboards, alerting our attention to its strangeness. The poisoned apple as fairytale symbol neatly combines Freud’s ideas of the uncanny as a response to the return of the repressed in relation to both sexuality and infantile belief in magic (Freud, 1919). From the perspective of a writer/director, a combination of these two elements - the sexual and the magical - would be a very strong thematic foundation for a folk horror subject. In addition to the unsettling apple, accusations of witchcraft go back and forth between family members as they try to isolate a human cause for their suffering. This leads to a discussion on the twins.
Twins
The Witch (Eggers, 2015)
The twins are uncanny in many ways throughout the film. Whilst identical twins are usually considered uncanny it can become a cliché (and, thereby, lose its uncanny affect) and Eggers has wisely decided not to cast that way. Mercy and Jonas are fraternal boy and girl twins which brings a different (and less obvious) unsettling feel to the film. From a performance perspective, a blurring between their identites is achieved by having them sing and speak in the same ways, often overlapping. Their play behaviour exists on a borderline between the infantile and the rational and is often macabre. They sing demonic sounding songs about the family goat, Black Philip, who they claim talks to them. Singing children and simple rhymes have long associations with the uncanny from The Innocents (Clayton, 1961) to The Babadook (Kent, 2014). In The Babadook, particularly, the childlike nature of the monster’s call (“Baba Dook, dook, dook”) sits uncannily between the nursery and the macabre.
The Innocents (Clayton, 1961) The Babadook (Kent, 2014)
Mercy and Jonas are dressed - appropriately for the time but unsettling to modern eyes - in adult clothing, making them appear both young and old at the same time. In this scene they move from seeking comfort in the arms of Thomasin to accusing her of witchcraft, finally embodying devilish speech and behaviour in their collapse into hysterical seizures. Seizures and epilepsy can provoke a sense of the uncanny in witnesses (Royle, 2003). If the uncanny and folk horror can be said to be concerned with blurry borderlines, Mercy and Jonas clearly inhabit that space.
Language
The Witch (Eggers, 2015)
Language is used in very particular ways throughout the film. As explained in a pre-credit sequence at the end, a large percentage of the dialogue was taken from period sources. The result is unsettling to our ear (as it is both familiar and unfamiliar) and no more so than in this scene. Firstly, there is speaking in tongues. This manifests not only in Caleb’s delirious speech but also in Mercy and Jonas. In addition, the adults engage in reciting the Lord’s Prayer over Caleb’s writhing tormented body transforming the scene into an exorcism. Folk horror often depicts a conflict between the ‘olde ways’ and modernity (Scovell, p19) and in the sense of a historical piece such as The Witch it is the conflict between the old ‘olde ways’ and the Christian. For a secular Western audience, Christian prayer can be just as disturbing (and reminiscient of childhood) as the demonic. As Thomasin nears death he becomes enraptured by religious visions and begins reciting verse, the text of which was taken from a prayer in a diary entry by Puritan Founder John Winthrop.
“O my Lord, my love, how wholly delectable thou art! Let him [Jesus] kiss me with the kisses of his mouth…” (Bremer, 2009:76)
Eggers chose this prayer seemingly for its unsettling nature. He says “…this kind of mystical, erotic relationship with God is something that was very interesting, to say the least.”(Ifeanyi, 2016)
Performance
The Witch (Eggers, 2015)
Whilst language is a consideration at script stage it is also the responsibility of the director to achieve credible performances from the actors which Eggers manages, especially with the child actors. To achieve what he needed, Eggers worked deeply with the actors to get their performances. As he says in an interview with Fast Company, he and cinematographer Jarin Blaschke were daunted by this particular scene.
““We came together and compared notes, and that scene, we were like, we can’t [shot-list] it because we have to work with the actors,” Eggers says. “It really was everyone coming together to make that work.” (Ifeanyi, 2016)
Explaining their approach he continues:
“You break the scene up into movements and climaxes, and you try to build each piece really carefully,” Eggers says. “I think coming from a theater background, it was easy enough to block the scene, but Jarin was incredibly helpful in this scene in particular [by keeping] track of all of these characters in a way that’s not betraying the cinematic language that we set up in the rest of the film.” (Ifeanyi, 2016)
For Caleb’s final prayer speech Eggers elects to film it all within a single travelling medium shot. At nearly a minute and a half it is the longest shot of the scene giving it a very different pace. In addition, whereas a lot of the scene has been very noisy, all other characters are still and silent for the duration of the shot. The result is that the viewer is completely pulled into the performance. ‘Sometimes the filmmaker will use shot duration to create a stressed, accented moment.’ (Bordwell & Thompson 1993). It is a bold move, especially with a child actor, which is why it has such power. To encourage a great performance from the young actor, Harvey Scrimshaw, Eggers accepted assistance from Ralph Ineson who played the father, William.
“…because some of the tone of Harvey’s performance, he needed to be naive of what that tone was, if you catch my drift. Ralph was using soccer metaphors to help coax some of that out of him.” (Ifeanyi, 2016)
The Witch (Eggers, 2015)
Camera and Space
“Setting up a scene is as much an organizing of time and space.” (Monaco, 2009)
Despite the supernatural overtones Eggers and Jarin shoot the scene in a subtle naturalistic style. Camera moves are character motivated throughout, performances - whilst disturbing - are believable within the historical context. Camera work had a subtle steadicam or gimbal driven feel in places ‘…maintaining the unity of an actor’s performance in real time while also reframing to create dramatic emphasis’ (Mercado, 2010).
The Witch (Eggers, 2015)
In terms of framing, space is disjointed for much of the scene - we see only sections of the room and characters are cut off from each other (specifically, Tomasin) - which has a disorienting and alienating affect. It is only after Caleb has died that we get a wide shot revealing the entire space.
The Witch (Eggers, 2015)
Music and Sound
The musical choice of subtly atonal strings reinforces character emotion without breaking the realism. At the crucial point where the hysteria breaks and Caleb moves towards death Eggers made the choice to drop the music completely which, paradoxically, draws us in more. It also maintains a sense of reality to the situation, heightening the uncanny. In other parts of The Witch, it’s arguable that Eggers wasn’t so successful. As one of the focus group put it:
“Some of the music felt cliché – ‘oh, here’s the off-key choirs that tells us to be unsettled’”
In these parts Eggers may have fallen into the trap of over-use of music to provoke audience emotions that other folk horrors such as The Ritual (Bruckner, 2017) can easily be accused of.
Final Thoughts
The Witch (Eggers, 2015)
In closing analysis, it can be argued that by paying close attention to balancing a sense of realism with the supernatural and allowing character emotion to dictate dramatic flow Eggers manages to keep the scene from falling into either the fantastical or the mundane through his directorial choices. This generates a strong uncanny affect throughout and is backed up by the responses of the focus group to the film as a whole:
“…made you feel the feelings of dread, desperation and confusion that the characters must have been feeling in those moments.”
“There was an uncomfortable feel through the film creating a lot of tension, which I liked.”
“A very haunting film.”
“I had a sense of unease throughout most of the film.”
“This felt like a nightmare one would have as a child…a sense of ancient dread, deep rooted.”
When I started looking into the connection between the uncanny and folk horror my initial intention was to study scenes from three different films, the other two being The Babadook (Kent, 2014) and The Ritual (Bruckner, 2017) but I made the decision that what would be of most use to me as a filmmaker struggling to connect psychoanalysis with cinematic practice would be to dig deep into one key scene and see how a filmmaker achieved a strong sense of the uncanny. In that sense I hope I have managed to do with Eggers’ work what Scovell says that Eggers himself managed to do with The Witch, namely ‘…to dig beneath the surface of more trivial modern homages to folk horror ‘…revealing the greater evils underneath.’
I hope this is of use to other filmmakers interested in exploring the uncanny and how to apply it to their films. One word of caution: As I continue to investigate this area it has become apparent that the uncanny’s elusive quality prevents it from being a mere checklist. It’s not enough to use weird dolls, twins or déjà vu – the sources need to have originality and backed up by visual subtext. Additionally, that which was once uncanny ceases to be so once it becomes overly familiar both in specific and general cultural terms. The uncanny, ever elusive, slips away from simple classification. That is both the challenge and the appeal.
Bibliography
Barthes, Roland, Camera Lucida, (1993) London Vintage.
Beem, Katherine & Paciorek, Andy (editors) (2017), Folk Horror Revival: Field Studies. Wyrd Harvest Press.
Bordwell, David & Thompson, Kristin, (1993) Film Art: An Introduction, 4th Ed. Palatino, McGraw-Hill Inc.
Bremer, Francis (2009) John Winthrop: Biography as History NY Bloomsbury
Freud, Sigmund (2003), The Uncanny. London, Penguin Modern Classics.
Gorky, Maxim The Lumiere cinematographe (1896,) Translated by Richard Taylor, Ian Christie, Ian and Taylor, Richard, eds, The Film Factor: Russian and Soviet Cinema in Documents 1896-1939, (1988) London. Routledge & Kegan Paul.
Ifeanyi, KC Anatomy of A Scene: The Most Pivotal Moment in “The Witch”, Explained (02/19/2016) Fast Company Magazine www.fastcompany.com/3056743/anatomy-of-a-scene-the-most-pivotal-moment-in-the-witch-explained
Krueger, Richard & Casey, Mary Anne, (2015) Focus Group Interviewing Research Methods University of Minnesota. https://richardakrueger.com/focus-group-interviewing/
Mercado, Gustavo (2010) the filmmaker’s eye Burlington Focal Press
Monaco, James (2009) How to Read a Film 4th Ed. Oxford University Press
Mori, Mashahiro. The Uncanny Valley. Translated by Karl F. MacDorman and Norri Kageki in IEEE Robotics & Automation Magazine Vol 19 Issue 2 June 2012
Simpson, M.J. ‘The Blood on Satan’s Claw: One Scary Skin Flick’ Fangoria issue #230, March 2004
Merrigan, Gerianne, Johnston, Russell Todd & Logan Huston, Carole (2012) Communication Research Methods Oxford University Press
Royle, Nicholas (2003), The Uncanny. Manchester, Manchester University Press.
Scovell, Adam (2017), Folk Horror Hours Dreadful and Things Strange. Leighton Buzzard, Auteur.
Scovell, Adam (2017), Where to begin with folk horror
http://www.bfi.org.uk/news-opinion/news-bfi/features/where-begin-folk-horror
Withy, Katherine. (2015) Heidegger: on being uncanny Harvard.
Digital, Online Resources and Supporting Activities
Krueger, Richard (2004) Moderating Focus Groups www.youtube.com/watch?v=xjHZsEcSqwo
www.the-numbers.com/movie/Witch-The#tab=summary
Oxford Dictionary of English Version 3.5 www.worldwebsoftware.com
www.rottentomatoes.com/m/the_witch_2016/
https://www.freud.org.uk/education/
Filmography
A History of Horror (2010) Directed by John Das/ Rachel Jardine. [TV] UK. BBC Bristol Factual.
Babadook (2014) Directed by Jennifer Kent [Feature]. AUS. Screen Australia.
Blood on Satan’s Claw (1971) Directed by Piers Haggard [Feature]. UK. Tigon British Film Productions.
November (2017), Directed by Rainer Sarnet [Feature]. EE. Opus Film.
The Innocents (1961) Directed by Jack Clayton. US. Twentieth Century Fox.
The Ritual (2017) Directed by David Bruckner [Feature]. NL/USA. Entertainment One.
The Wicker Man (1973) Directed by Robin Hardy [Feature]. UK: British Lion Film Company.
The Witch (2015) Directed by Robert Eggers [Feature]. US. Parts and Labour.
Train Pulling into a Station (1896) Directed by Auguste Lumiére/ Louis Lumiére. [Feature]. FR. Société Lumiére
Witchfinder General (1968) Directed by Michael Reeves [Feature]. UK. Tigon British Film Productions.
