[Film Review] Two Witches (2022)

Witches don’t die before leaving their legacy. Two Witches, told in two separate acts that come together to weave a tale of inheritance, begins with the pregnant Sarah (Belle Adams) and her partner Simon (Ian Michaels) who are out to dinner when they receive an evil eye from a random woman at another table, the chapter’s titular Boogeywoman (Marina Parodi).

Haunted by this encounter and with something sinister in the air, Sarah confides in Simon about her anxieties, only for her fear to be gaslit as pregnancy nerves before accumulating in a horrific incident at their friends’ home after fooling around with a Ouija board. The baby-hungry witch from this first act is then revealed to be the grandmother of the antagonist of the second, jealous and possessive Masha (Rebekah Kennedy) whose character is introduced with the attempted murder of a man she is having sex with. Her quite normal roommate Rachel (Kristina Klebe), believes this strangulation incident to be an assault on Masha, not the man, resulting in her showing empathy and caregiving. Masha takes this opportunity to try and steal everything Rachel has, proving that you shouldn’t always be polite and nice to someone if they’re actively making you feel uncomfortable in your own home.

The seemingly random narrative of the film is a struggle to follow on paper, but when watching it on-screen, the entwining of these stories that interlock so beautifully is evidence of a solid understanding of where director Pierre Tsigaridis wanted this context to lead. The audience may recognise whispers of Euro-horror throughout the film, with solid nods to the work of Argento, Fulci and Bava. The aesthetic of the titular witches leans far into the category of ‘hag culture’ seen in films like Drag Me to Hell, with a solid baby munching factor that aligns with Robert Egger’s vision in The VVitch, whilst also suggesting topics of female autonomy and freedom that often align with witchy tales. 

When it comes to effects, Two Witches has some truly disturbing gore that will make even the strongest of stomachs turn. A highlight must be within the first act where the friends of Simon, Melissa (Dina Silva) and Dustin (Tim Fox) are dragged into the antics of the witch, seemingly persuaded to slice open Melissa and offer a foetus to Simon. The gore combined with the manic laughter and shouting from the couple ramps up the terror for the audience and Simon, who is just trying to find his girlfriend who may or may not also be possessed. A lot of the blood and guts (and burnt flesh) is done practically, which is always a bonus in this category of shock horror. Apart from the ‘SYFY channel’ quality of CGI flames that are seen in the final ten minutes of the film, it can be said that Two Witches successfully inflicts a visceral reaction from those watching, as much as you want to look away. 

The entire film feels heightened, from the sometimes over the top acting, to the invading light of many candles, to the sudden and overwhelming sound. The sensory overload thrusts the viewer into a feeling of chaos that doesn’t let up, even in the final post-credit scene, which hints that this story isn’t over. The main criticism that can be taken from this overhaul of the senses is that sometimes the fast-moving visuals often rely too heavily on the image of gurning women. This contortion of the features is fantastic the first time, showing a comedic horror under an elderly face, but after the fifth or sixth bewail it becomes tiresome. 

Overall, Two Witches is a successful debut feature for Tsigaridis, a story with enough unexpected turns to keep audiences howling in delight, whilst remaining a film that doesn’t require too much analysis or interpretation for a joyful experience. I am excited to see what the director does next and will be sure to ferociously eat an apple in the front row whilst the future chaos unfolds before my eyes. 

Two Witches is available on ARROW 1st October and released on Blu-ray 17th October.

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