Based on real-world Slavic tales of a malicious rural spirit, Czech director Jiri Sádek’s The Noonday Witch is a domestic sort-of-ghost story that is so determinedly slow-burning that it almost forgets that it’s supposed to be frightening. Its plot and themes recall The Babadook (2014), but Sádek’s picture swaps the former film’s raw focus for a drowsy, moldering Old World sensibility. The newly widowed Eliška (Anthropoid’s Anna Geislerová) moves to her husband’s native village with her daughter (Karolína Lipowská) for a fresh start. Remarkably, Eliška hasn’t yet told her child that Dad committed suicide – he’s merely “away” – and this lie of omission curdles their relationship, exacerbating creepy occurrences such as the dementia-addled old woman who keeps appearing on their doorstep. Admittedly, the film is both meandering and light on actual terror, and it concludes with something of a whimper. However, it’s also stylish and genuinely unnerving, a rare portrait of maternal protectiveness perverted into unholy mania.