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.

@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.

The movie probably would not have been made without some modern liberal angle, yet it stands on its own merits as a chronicle of those times. The account is also pieced together from documentary evidence.

Bleak and harsh-yes-but life was simply like that. Death and starvation were everywhere. If you felt sorry for Agnes in the end, you're lost in modern mores. The denouement shows a tribe at ease with itself and with God. The punishment was just, and I felt satisfied with the outcome as logically consistent with the story, each character's role, and the way life was lived at that time.

It might have been tempting to "Apple-ify" or "Netflix-ify" it, but Germanic cinema can still handle authenticity very well. I hope Heimat Films continues making movies like this, exploring tribal life and life before the nation-state.

The preview mentioned mental illness, but that presumes an individual mind in an era predating Liberalism. You traveled with the tribe, produced the next generation, and that was that. And woe betide you if you did something that harmed the whole.

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.

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.