O Banho do Diabo

The filmmaking duo Veronika Franz and Severin Fiala have already proven their mettle to global audiences with their chilling films "Goodnight Mommy" (2014) and "The Lodge" (2019). As a horror aficionado, their latest project, "Des Teufels Bad," has been a source of immense anticipation for me.

This Austrian/German co-production transports us to 18th century Europe, where the characters we encounter are the ancestors of those depicted in Robert Eggers' "The Witch" (2015).

While monotheistic Middle Eastern religions have tried to impose their dogma on humanity for 5,000 years, it hasn't been easy to eradicate our pagan roots. Even today, from rural America to the Mesopotamian shores of Turkey, Muslims, Jews, and Christians lead lives intertwined with pagan culture, despite the prohibitions of their respective faiths.

The film's premiere at the Berlin International Film Festival and its disqualification from Eurimages funding demonstrate Shudder's unwavering commitment to quality horror cinema.

Martin Gschlacht's exceptional cinematography, coupled with Anja Plaschg's (of the band Soap&Skin) haunting score, elevates this disturbing story into the pantheon of unforgettable folk/horror films. The meticulous attention to ambiance and authentic historical detail, combined with a screenplay based on extensive research into the era when chronic depression drove hundreds in Europe - mostly women - to escape the hell of their daily lives through murder, make "Des Teufels Bad" truly deserving of all the praise and awards it has received.

"Des Teufels Bad" is a German idiom that describes a dangerous, risky situation with potentially dire consequences. It's often used when someone, intentionally or not, puts themselves in harm's way. I hadn't heard this expression since my school days at the German High School in Istanbul, where it appeared in a few assigned texts. The film stirred up those old memories, adding another layer of unease to the experience.

I've read in a few places that the film's story is inspired by real events, but I neither believe it nor would be surprised if it were true. Hollywood has a history of manipulating moviegoers' emotions with such claims in their PR campaigns, but the history of Abrahamic religions is indeed rife with such tragic events.

In short, I hope SHUDDER releases this film on Blu-Ray so I can add it to my collection.

As the saying goes, nothing is more chilling than terrifying events based on true stories. The Devil's Bath is one such film that exemplifies this adage. This psychologically intense period piece, while not a bonafide horror film, will leave you deeply disturbed. For the fans of "Good Night Mommy" and "The Lodge" may find their expectations subverted, so let me tell you to keep your expectation low since this film is but rather a period piece rooted in psychological horror.

The film opens with a shocking scene that sets the tone for what will be fully explored in the climax. A woman throws an infant over a waterfall and then confesses to her crime and surrendering herself to authorities. Flash forward a few years, and we meet Agnes, a young bride full of hope for the future. However, her life quickly takes a dark turn when her husband, Wolf, proves to be both emotionally distant, financially irresponsible and her mother-in-law's domineering control add to the burden. Agnes's desire for love, companionship, and a child is thwarted, leading to a descent into despair. Despite her nightly longing for her husband, her desires remain unfulfilled, and she is denied the joy of motherhood. The film explores the psychological toll this takes on her, as she descends into madness. She falls victim to superstition, tradition, and the oppressive weight of patriarchal dominance.

Anja Plaschg (Agnes) performance is a standout. She's got this haunting way of drawing you into her character's world. The confession scene is particularly chilling, a real gut-punch of a performance. She's also the brains behind the film's score, which is totally eerie. You might know her band Soap&Skin from the song 'Me and the Devil'. Martin Gschlacht, the visionary behind Goodnight Mommy, crafts a bleak and unforgiving landscape. The film's 35mm aesthetic lends a timeless quality to the story, immersing the viewer in a world of hopelessness. Gschlacht's cinematography is a work of art, deserving of the Silver Bear he received at Berlinale.

In closing, The film's influence is evident in its slow-burn narrative with psychological undertone. The film's tone and themes reminded me of Lars von Trier's Melancholia (2011), Ursula Reuter Christiansen's Skarpretteren (1973), and the works of Jan Troell, Terrence Malick, Helma Sanders-Brahms, Cecilia Magni, and Robert Eggers. Regardless, the film's emotional impact is profound. Agnes Schickin's plight is heartbreaking, and those who stay till the end will feel a deep sympathy for her, Ewa Lizlfellner, and the many others, including the children.

3.75 STARS - This is worth watching for the main actress's performance alone. She did a great job here, capturing the essence of the character in such a way that you truly sympathize with her plight, though you are horrified with what she feels driven to do once she is in "The Devil's Bath." I had no idea about the true events/practice this movie was based on so there were some things that confused and annoyed me initially. Once I realized what was happening, my perception about the film changed, especially after reading further into the facts this story was based on. Part of me thinks that if I'd known about these events before watching the movie, I probably wouldn't have taken the time to check it out. Especially since it's not your typical "horror" flick (though the events here are truly horrific). But I'm not sorry to have seen it, and in the end my only real complaint is that at two hours long, there were moments where this dragged more than it needed to. However, that's not really enough to keep me from recommending The Devil's Bath. Video review on my Cyn's Corner YouTube channel.

It surely does take a significant amount of effort to recreate bygone era themes and this movie does that execution exceedingly well. From rituals to clothing to food, audiences would be thrilled and enamored to just comprehend what life was like back then.

Then it's the core theme of the movie, which revolves around what depression was like back then and how people dealt with it. Very much compelling and thought provoking.

But in between, this movie also has hideously slow pacing which can make audience yawn or even fall asleep, dreaming between 21st and 16th century.

There's a lot that could've been done here, but it seems the filmmakers decided to focus more on minute details of how people lived back then, than on developing a storyline that showcased how depression evolved.

Not a bad watch, but not something I would highly recommend as well. Gore was mediocre and felt more pushy and relevant.

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.