In the 1630s in New England, a Puritan family is cast out of their village after a fight over faith. Father William leads his wife and children to a lonely farm at the edge of the woods. Soon their baby disappears, the crops fail, and fear of a witch grows fast. The mood is slow, dark, and full of dread. Love and trust inside the family begin to break down as each new loss makes them more afraid of one another.
Teen daughter Thomasin is watched and blamed as the trouble spreads through the household. Real witchcraft, hunger, and a goat called Black Phillip push the family toward ruin. Thomasin finally speaks with the Devil, signs his book, and rises into the trees with a coven of witches. The film is about sin, fear, faith, and evil that feels real inside an old New England world. On screen it plays as dark folk horror rather than a modern identity speech, even though some later talk linked her path to female power.
Community feedback
Was our 8% Woke rating accurate?
Breakdown
These are the editorial factors and ratings behind our score for The Witch.
Woke representation / casting
Not present. Casting is period-accurate with no forced diversity or identity signaling.
0%
Woke political dialogue
Not present. No political or ideological dialogue exists.
0%
Identity-driven story themes
Thomasin is blamed for the family’s pain as she grows into a young woman. At the end she leaves their faith, signs with the Devil, and joins free witches. The director and some marketing later linked that path to female power. On screen it still plays as dark folk horror and real evil, not a modern identity speech.
12%
Western institutional / cultural critique
Not present in this title.
0%
Woke character or canon changes
Not present in this title.
0%
Anti-woke backlash and complaints
Not present in this title.
0%
Creator track record context
Robert Eggers wrote and directed the film, with a low record for identity-driven politics and a focus on period craft. Producer Daniel Bekerman has spoken more strongly for diversity in wider film work. Other key producers show little activist history. The main creative voice is not known for pushing social-justice stories.
12%
Production
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