There’s been a number of horror films recently that fall into the broader subgenre of folk horror, where it captures a very specific time and place, or environment, and capitalizing on the anxieties and menace that is often faced within that boundary, often utilizing subdued supernatural undertones to get the mood across. This year, we’ve had bigger, modern takes such as Midsommar, but there has even been smaller films such as Hagazussa: A Heathen’s Curse. Both take a different approach to the genre, one leaning more on cults, the other a period mood piece.
With Gwen, the debut from writer/director, William McGregor, it is closer to something like Hagzussa, but with a distinctive vibe all on its own. It’s a simple tale, following the lives of a family, led by Elen (Maxine Peake), who is struggling to take care of her daughters, the older Gwen (Eleanor Worthington-Cox) and Mari (Jodi Innes) without the father around. The story is told from Gwen’s perspective, which limits some of the information that the film offers, allowing certain moments to bring an extra layer of mystery and tension because you are as in-the-dark about the situation as she is.
The film takes place in Wales in the mid-19th century. It’s a cold, bleak, muddy, foggy place, one that almost feels barren and devoid of life, aside from the green grass, which brings the only semblance of beauty to some of the moody landscape shots. However, it’s not just the environment that is bleak, it’s the desperation of the family that really hits. Elen experiences a strange illness that they can’t fully afford to treat. They wake up to find their sheep slaughtered. Local mine owners are targeting their land.
It starts on a miserable note, and it simply gets worse from there. The family never gets to experience hope or optimism. It can be overbearing for anyone who doesn’t expect that kind of experience, especially because it is not remotely interested in offering any kind of catharsis for all the terrible things that happen to the family. The horror of the film comes less from any supernatural elements, though it does poke its ugly head in a couple times for the sake of ambiguity – I guess, the horror mostly comes from the fear of being powerless, being unprepared, and being targeted, which goes double for a household full of women where there isn’t a man present.
The story doesn’t touch on these themes too directly. Much of it is left unspoken, with dialogue kept to a minimum. But it is still informed by these circumstances in a thoughtful way, without drawing too much attention to itself or falling into any illusion of great self-importance. Although, I do wish the film took the time to dig deeper at times, which it certainly could have considering it’s short running time of an hour and 24 minutes.
What keeps it all together is the performances and the solid filmmaking. McGregor knows how to create atmosphere, and to keep it sustained for the whole film without feeling one-note. There’s not a moment that isn’t full of doom and gloom, and it’s very effective. Eleanor Worthington-Cox handles herself well, easily carrying the film with all the difficult and harsh material that she’s dealing with, and she brings a sense of urgency to each moment, especially as things get worse.
Gwen isn’t a film that I could easily recommend to most. Even for a lot of genre aficionados, this might be one that tests their patience. But if you’re into seeing something that’s relentlessly moody and bleak with enough thoughtful touches here and there, this is one worth seeking out. The performances are solid enough to keep things engaging, and McGregor knows how to put together a striking image that lands a punch. While I don’t love the film that much, I’m curious to see where he goes from here.