After devastating audiences with both Goodnight Mommy and The Lodge, writing and directing duo Severin Fiala and Veronika Franz remain in the horror genre for their new film, The Devil’s Bath. This time around the fear factor is ramped up tenfold as the inspiration for the idea came from the pages of history.
In order to accurately represent life in some parts of 18th century Austria, Fiala and Franz studied historical records and built their lead character, Agnes (Anja Plaschg), around what they learned. The Devil’s Bath opens boldly as a small child is killed in a brutal fashion. From here the story joins Agnes, a new bride looking forward to a life with her husband, Wolf (David Scheid). However, right from the wedding night it becomes clear that Agnes is not going to be gifted with her dreams of children. What she does get is the overbearing commentary from her mother-in-law who is intent on forcing Agnes to be the wife that she deems worthy of her son. As the pressure builds, Agnes’ mental health takes a severe knock and her routine goes from wicked to deadly.
What makes The Devil’s Bath so effective is that it forgoes any of the expected or traditional horror elements. This is not a period-set genre film like The Witch, but rather a film whose horror is found in its truths. That Agnes’ life is a mere mirror of the ordeals of many women is the element to fear. As The Devil’s Bath moves forward, and more of Agnes’ experience comes to light, the further the audience recoil. As Agnes’s life becomes less and less of the picturesque scenario that she had hoped for, the more frustrating the film becomes to watch. Not because it is a bad film, but because it is so good at capturing the futility that life as a woman can sometimes bring.
The absolute worst aspect of The Devil’s Bath is that, although the centuries have changed, the treatment of women is also entirely the same. That history continues to repeat itself is depressing and despite its antiquated setting, the plot could almost be displaced directly into a modern environment without losing much from The Devil’s Bath at all. It’s uncomfortable likeness to the lack of autonomy that women have over their bodies in some countries makes this film an even more fraught watch. The treatment of Agnes’ eventual depression is another aspect that feels too close to modern society, with some women having to battle for years to get certain health conditions diagnosed. Its real world implications ensure that The Devil’s Bath is a stifling and suffocating watch despite its lack of traditional genre trappings.
Given the subject matter, The Devil’s Bath is steeped in melancholy. This is achieved not only in the fantastic performance of Anja Plaschg, but also in the film’s aesthetic. The screen is awash with muted hues of colours with an emphasis on colder colours such as blues. The fierce woodland and shoreline setting further perpetuates the pervading sense of gloom and makes certain that the audience is permanently shrouded in the same ‘hysteria’ as Agnes.
The genre work of Severin Fiala & Veronika Franz has always been engaging, but with The Devil’s Bath, Franz and Fiala have crafted an enthralling nightmare. One whose basis in history packs in extra emotional heft, making for a stressful and somewhat traumatic viewing experience that is hard to shake.
The Devil’s Bath
Summary
An exceptionally effective horror film, The Devil’s Bath is depressingly melancholic.
The Devil’s Bath was reviewed at TriBeCa 2024. The Devil’s Bath opens at IFC center in New York on Friday 21st June, and arrives on Shudder from Friday 28th June 2024.
