El baño del diablo

@KenTheCritic

The brilliant filmmakers who gave us "Goodnight Mommy" and "The Lodge" are back to add to their credits. Directors/Writers Severin Fiala and Veronika Franz bring us "The Devil's Bath (Des Teufels Bad)" set in 1700s Austria and continue to show us that they are a staple in this genre. It's an unsettling thriller that recounts an actual part of European history. Fiala and Franz were intrigued with the interrogations, trials, and murders of women who killed children back during that time and how the community would unify in the execution of them. These women were clearly victims, but history just shows that they referred to them as witches. They dove into hundreds of cases that Associate Professor Kathy Stuart of The University of California of Davis acquired. "The Devil's Bath" is now available to stream on Shudder.

In "The Devil's Bath", Agnes (Anja Plaschg) is newly married and just crazy for her husband, Wolf (David Scheig). She spends time with her husband, but her life becomes more and more depressing as she is trying to get acclimated with married life. As her mental health is lacking, her mother-in-law (portrayed by Maria Hofstatter) starts berating her until she just wants to give up. She starts believing that there's only one way out.

"The Devil's Bath" is a slow burn and isn't as suspenseful as "Goodnight Mommy" getting lost on developing the time it was set in than on what is happening to Agnes, but I appreciate what Fiala and Franz did with the film and the research that went into writing the screenplay. The cinematography helps paint this dreary landscape of gloom, isolation and sadness. Anja Plaschg actually creates the film's score as well. She is a musician that goes by the name Soap&Skin. Fiala and Franz are about to adapt "A Head Full of Ghosts" by Paul Tremblay and that film should be more apprehensive than even their first feature.

I went into this with low expectations. It started off seemingly innocent enough. I wasn't sure where the movie was going. Without giving anything away, I will say that the movie shocks you before long. There are some scenes that run on too long but overall the movie was pretty good. The depiction of life in 1750s Germany was grim but there were moments of happiness. The main character's descent into mental illness was sad to say the least. The treatment at the hands of the barbers of the time only made things worse. I couldn't believe that things like that actually happened and was horrified to find out how often these things took place.

My only complaint is thst there was no explanation for why people were punished in certain ways.

This film is about depression and suicide in 18th century rural Austria.

It is wonderfully shot and we're told it is historically accurate and based on true events of actual women from that period.

This is not a horror film to be clear.

This is not a must-see film, either.

I think it may be an interesting film for psychology students or teachers, and perhaps for film students.

If one is familiar with depression and interested in it's historical interpretation, this film is relevant.

Other than those instances, I would not watch this film. Its simply bleak from start to finish and there's no redemption for anyone. You'll feel bad during and after your viewing.

Again, this is a well-shot, historical perspective on suicide by proxy. I felt that it was unnecessary to watch this film to understand that phenomenon.

From the Austrian filmmaking duo behind Goodnight Mommy & The Lodge comes a folk horror steeped in chilling ambience & haunting imagery that turns to historical pages to find its bleak story and offers a fascinating exploration of depression, religion, superstition, mental illness & repressed sexuality through a young married woman's unraveling as she grows despondent in her marriage.

Written & directed by Veronica Franz & Severin Fiala, the film sets its grim tone right away with the disturbing scene that opens the picture and then sprinkles the story with harrowing images that surface every now n then. The period setting has an authentic vibe to it, thanks to the deft research, lush greenery location, small pockets of civilisation, stone-built houses & other props of 18th century Austria.

However, the slow pace & overlong runtime do hinder the investment before the final act wakes the viewers up with a gut-punching shock. Much of the film rests on the shoulders of its leading lady and Anja Plaschg more than delivers on that front with an impressive showcase. Anchoring the plot with finesse, she expertly portrays her character's growing despondency & desperation and holds the film together.

Overall, The Devil's Bath is a intelligently crafted, patiently narrated & strongly acted historical horror that benefits from its period-specific details, horrifying elements & Plascha's committed performance but the slow-burn pace at which it all unfolds won't appease every palate. But its powerful ending does stick with the viewers for a while and out of all films from these directors, their latest is easily their best work so far.

Greetings again from the darkness. If you simply have too much happiness and joy in your life right now, filmmakers Severin Fiala and Veronika Franz (GOODNIGHT MOMMY 2014, THE LODGE 2019) have an elixir for you. Their film, based on historical records from 1750 in Upper Austria, is just about as bleak as any movie I can recall. It has the look and feel of a folk horror, but it's more about a slow trek to madness by way of depression.

If you haven't stopped reading yet, you should know that the film looks gorgeous thanks to cinematographer Martin Gschlatt (GOODNIGHT MOMMY 2014, REVANCHE 2008). The color palette and camera work bring a texture to the film that is rarely seen on screen. But enough optimistic chatter. The opening sequence finds stressed out new mother Ewa (Natalia Baranova) carrying her screaming baby through the woods to the top of a stunning waterfall near the Austrian Alps. We next see Ewa at the church confessing, "I've committed a crime." It's what's known as 'suicide by proxy' so that one's sins may be forgiven prior to execution. The ultimate loophole.

We next see Agnes (musician Anja Plashg) as she prepares for her wedding. In fact, this may be the only glimpse of happiness in the entire film ... at least as I recall. Of course, my initial description of the film would not be accurate if Agnes' joy lingered. Her mood turns quickly at the reception as she spots her new husband Wolf (David Scheid) leering longingly at another man, and then making things worse with his actions in their wedding night bed. This is after he blows all of their money on a house Agnes doesn't much like. Wolf chose it since it's close to his mother's house. Maria Hofstatter plays one of the most intrusive mothers-in-law one could be stuck with.

The rest of the film is us following the slow descent of Agnes, as each day's misery builds upon the previous. Trips to "the Barber" are horrific, and Agnes desperately searches for a way out of the situation. The practical effects here are excellent, combining with the cinematography, acting, and direction for a technically stellar film. However, it does feel like a celebration of suffering, and it's likely more for cinephiles than it is for the average movie goer. It opens with a tragically violent act, soon followed by another. Then we are subjected to Agnes' helplessness in a hopeless situation, until we finally end with more violence. Enjoy Austria's Oscar submission for Best International Film!

Re-releasing in select theaters on November 13, 2024 and streaming on Shudder.