The Noonday Witch: A Czech Folk Horror
The Noonday Witch (known as Polednice in its original Czech title) is a beautifully bright and quiet folk horror film. Directed by Jiří Sádek and written by Michal Samir (II), the story follows the lives of Eliska (Anna Geislerová) and her young daughter Anetka (Karolína Lipowská), who move to a remote countryside to start a new life. The two have a close relationship comprising of reading stories, sleeping in the same bed and cooking. All is well until a persistent Anetka discovers her mother has been lying about the whereabouts of her father, causing their relationship to deteriorate under the clutches of the Noonday Witch.
The Tale of Lady Midday
I have found the best way to get the most out of a folk horror film is learning about the folklore it is based on. “The Noon Witch” is one of those stories that answers questions you might ask after watching The Noonday Witch. The tale’s substance varies across cultures, but all share many commonalities. Below is an English summary of Karel Jaromír Erben’s poem, which you can read in English here.
“A mother is trying to prepare lunch, but her child is screaming for attention. She gives it some toys to play with, but nothing helps. So the mother decides to scare the child with a story about the Noon Witch who is said to come after children if they are naughty. At that moment, the church bell rings out, announcing that it is twelve o’clock – and there in the doorway stands the Noon Witch herself. She hobbles across the parlour, her arms reaching out for the child. The mother grabs her child and then faints in shock. The father comes home and finds the mother lying on the floor, their child in her arms. He manages to revive the mother, but the child is dead.”
Source
The Noon Witch is an English title for the Slavic demon, whose other names include Polednice, Psezpolnica, Poludnitsa, Południca and Lady Midday. She appears in many forms (such as a young woman in white or an old weary woman) around noon during harvest time, the hottest days of the year, and possesses or kills those who dare enter the fields she resides. She most victimizes mothers and children, but the broad daylight and dreary heat in the Slavic landscapes makes even the most cautious person susceptible to her fate.
One of the most popular portrayals of the Noonday Witch is the symphonic ballad “Polendnice” by Czech composer Antonín Dvořá. You can listen to the song below.
“Don’t go anywhere. Not over the fence, not in the fields.”
Much like the song it is based on, The Noonday Witch is slow-burning and symphonic. Ben Corrigan’s score incorporated with the sunny Czech fields creates an illusion of comfort that contrasts with the emotional turmoil each character goes through. It all works so well. Though I didn’t find movie scary, the tension builds to such grandeur that at the end I felt uneasy and on the edge of my seat. Geislerová and Lipowská’s provide convincing, exquisite performances of a struggle mother and daughter.
There are other components of the “Noon Witch” tale that I wish were included; for instance, adding more emphasis on the deaths or making the Noon Witch a greater threat could have made everything more suspenseful and frightening. But that isn’t enough to undermine how rewarding of a watch The Noonday Witch is. It is a feast for the senses originating from fascinating lore worth knowing.
(4 / 5)
Credits: Cover photo; first photo; second photo; video; quotation
Movies n TV
Luiso Berdejo’s Feature-Length Debut, or The New Daughter
The New Daughter (2009) is a PG-13 horror film & Luiso Berdejo’s feature-length debut based on John Connolly’s short story of the same name.
The New Daughter (2009) is a PG-13 horror film and Luiso Berdejo’s feature-length debut. The film is based on John Connolly’s short story of the same name. The New Daughter stars Kevin Costner, Ivana Baquero, Samantha Mathis, and Gattlin Griffith. As of this review, the film is available on VUDU Free, The CW, Hoopla, Tubi TV, Freevee, and Plex, with additional purchase options.
John James (Kevin Costner) moves his children to a rural South Carolina town to start anew after his wife leaves him. Louisa James (Ivana Baquero) can’t stand this change, and Sam James (Gattlin Griffith) doesn’t understand why his mother isn’t with them. But after finding a burial mound, their attitudes suddenly switch. As John uncovers more of their new home’s history, he realizes there’s much to fear.
What I Like About Luiso Berdejo’s Feature-Length Debut
Despite its 2009 release date, the Academy of Science Fiction, Fantasy, and Horror Films nominated it for the Saturn Awards’ Best DVD Release in 2011. As Luiso Berdejo’s feature-length debut, the film manages to hold an audience with a tight script and direction.
The acting sells this ominous mystery, which might otherwise become obscure amongst others in the genre. In particular, Kevin Costner’s John James and Ivana Baquero’s Louisa James center The New Daughter around their characters’ strained father-daughter relationship.
Ultimately, The New Daughter thrives in its atmosphere and execution. If we take the film plot point by plot point, The New Daughter doesn’t break the mold. Between Luiso Berdejo’s direction and the writing of John Travis and John Connolly, however, the film executes this uncomfortable tension that invests viewers.
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It’s in The New Daughter‘s execution where it haunts its audience. There’s this uncomfortable powerlessness as John attempts to protect his family against the horrors in the mound and its corrupting influence.
The ending might seem uncommitted, but I would disagree. The film executes a balance between hope and horror that leads to ambiguity but doesn’t leave the audience dissatisfied. A bolder film might conclude with an unhappy ending, but The New Daughter gives a sliver of hope in its dark ending.
Tired Tropes and Triggers
A cat dies in the film. The act isn’t shown, but I understand this can be a dealbreaker. In loose connection, there are also animal carcasses.
There’s a loose and underdeveloped connection to Native American mythology, following along the idea of “Indian (Native Americans) burial grounds.” While this initial thought proves inaccurate, it still holds familiar plot points that might irk some.
There are some strange decisions revolving around Louisa. Needless to say, a part of the plot revolves around her beginning puberty. While nothing is explicit, the creatures require a mate, which suggests sexual assault.
What I Dislike about Luiso Berdejo’s Feature-Length Debut
The aesthetic of the burial mound doesn’t seem particularly noteworthy. This becomes a problem when it looks like any hill in a forest. I don’t particularly see how the James family recognizes this as something strange and worth fixating on. As the film progresses, there are obvious reasons, but the aesthetic doesn’t execute this strangeness.
As addressed above, the premise remains familiar and safe, perhaps too safe. A family moves into a rural home, escaping a past withheld from the audience. The mother is out of the picture, and the father struggles to connect with his young daughter. I don’t subscribe to the idea that these are lazy points, but it might seem formulaic with how thick it dominates the film’s beginning.
Final Thoughts
The New Daughter is an impressive feature-length debut but one with notable flaws. There’s a familiarity and safety in the plot that hinders what could have been. However, the ominous mystery and acting provide the needed execution to create a haunting experience. If you’re looking for a horror following a terrified family against supernatural creatures, The New Daughter delivers.
(3.5 / 5)
After taking a week off, Dexter Original Sin is back. And while no piece of art can ever be entirely perfect, this was as close to perfect as I think we can expect.
The story
We start this episode right where the last one left off. Dexter, with a body in his trunk, finds his dumping grounds swarming with cops. So, keeping his head as cool as ever, he pulls out his forensic badge and pretends he’s supposed to be there. Then, he feeds the remaining arm from his second kill to the alligators before anyone can print it. But, not before Angel recognizes a distinct ring on the hand’s finger.
Jewelry really will be the death of Dexter.
While he might have gotten himself out of that mess, he still has a body to deal with. He decides to take it to a dump in broad daylight. Sometimes he acts like he wants to get caught. But then, maybe he does.
Meanwhile, the police are still looking for whoever kidnapped Nicky. There’s a horrific scene in this episode in which the poor kid has his finger chopped off. But this finger might well be the evidence that Miami Metro needs to catch the kidnapper because Dexter notices a sense of hesitation before the cut on Nicky that wasn’t present on the first little boy.
He also finds a drop of blood that doesn’t belong to Nicky.
Once again, it all comes back to blood.
What worked
As I’ve watched this series, and after consuming all of the rest of the work this franchise has offered us, one thing has become more and more clear.
Harry Morgan is a terrible human being.
Let’s just take this episode as an example. We see him strongarming a CI that he had an affair with, threatening to stick her in jail and drop her kids into foster care if she doesn’t keep risking her life for him. We then see him go home and lecture his wife, who he cheated on, for not forgiving him fast enough. And we know how this all ends for the Mosers. We know that Laura ends up dead and Harry takes the baby he liked, leaving Brian to the horrors of the foster care system.
- Michael C. Hall (Actor)
- Audience Rating: NR (Not Rated)
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The thing is, we were never supposed to like Harry. More and more I realize that Harry is the bad guy. He’s the antagonist of Dexter. And as I’m rewatching the original series, I see clearly that he’s been the bad guy from the start. And I think that’s such a brilliant idea.
Not quite as cool, but still impressive was the serial killer advice scene in this episode. Dexter, struggling with where to hide his dead bodies, researches how other serial killers have done so. We see him talk to Ed Gein, David Berkowitz and John Wayne Gacy. This scene brought the absurdity of the series to the forefront. Our main character admires these men. These monsters did horrific things. And we still, somehow, against all decency, like him.
Let me also just say that Scott Reynolds who played Gacy did a fantastic job. The body language and line delivery were just so creepy. For someone who wasn’t on screen for more than a few minutes, he knew how to make a killer impression.
Finally, I want to applaud the twist in this episode. But, as always, I want to do so without giving it away! I will only say that there is a large reveal regarding the person who killed the judge’s son and abducted Nicky. And, I have to say, I didn’t see it coming. It was amazing and raised so many questions. Questions I cannot wait to have answers for.
Honestly, everything in this episode worked. It was well-written, well-acted, and well worth my time. My only complaint right now is that there are only three episodes left.
Of course, it’s usually the last episode of a Dexter show that ruins the whole thing. Let’s see if they can avoid that this time.
(4 / 5)
After the last episode of Goosebumps, I was concerned. I wasn’t sure where the season was going, and I worried I wouldn’t like it.
Thankfully, this episode got the story and my interest back on track.
For the most part.
The story
We begin our story with a flashback from Alex, finally finding out why she was sent to Juvie. She was at a party that resulted in a house fire, through no fault of her own. Rather than helping her, Alex’s mom Jen simply assumes she set the fire and refuses to help her. So, you know, ACAB.
When Alex gets back, she wants to clear her name. So she decides to find Murph, the person who actually set the fire. To do this, she needs a car. So she decides to borrow Trey’s car.
You know, the car that is currently infected by the homicidal sewer spores.
What worked
One thing I’ve enjoyed about this season so far is that no one’s really at fault here. Yes, some of them are doing dumb things. I wouldn’t consider Trey breaking into Anthony’s basement and wrecking stuff to be a great decision. But I can also see how he got there, and why he was pushed to that. I love how we have the opportunity to see the motivations of almost every character.
I also enjoyed how Alex’s character is being filled out. She is compassionate, funny and brave. I think she’s going to end up being my favorite character this season.
On that note, a lot of this episode revolved around Alex and her mother. This was important, as we needed to round out the cast. However, I appreciated that we got that focus while still moving the storyline along for the characters we already have established. It’s sometimes hard to strike that balance when we’re not telling a story in a linear fashion. But I think they pulled it off.
What didn’t work
As much as I love the Alex/Cece relationship, I don’t love how Cece is being portrayed.
Maybe I just don’t like Cece.
She is too perfect. She is too charming. Everyone likes her. And several times in this episode she batted her pretty eyes, tossed her blond hair, and got people to do things for her. While I am amused that Alex weaponized this, it’s also irritating. I’d like to see less pretty privilege.
Finally, in this episode, we saw this demonic or haunted spore (or whatever it is) transition from a car to, of all things, a cup of coffee.
What even is this thing? What are the dimensions? What are the rules? What the hell is it doing?
Suspension of disbelief can only take us so far. We have to have a set of rules for the world for us to buy into it. I can buy a sentient spore. I cannot buy it jumping from living creature to car to coffee cup.
Do better.
Even so, this was a really fun episode. I’m enjoying the story so far, and I’m interested to see how long it takes everyone to get the parts of their story together so they can see the whole picture.
(3.5 / 5)
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