The Blair Witch Project

The Blair Witch Project ★★★★

contrary to what I’d like to believe – being exposed to horrific and, admittedly, cathartic reveals of what had previously been only imaginable in sci-fi/horror – the implied imagery of what’s happening beyond the camera here is more satisfying than what anyone could have – or should have – ever conjured up: an image formed by the loose information we’re provided; a thin, witch-like provocateur indulging in satanic behaviour, literally bending geography and irking the very grounds these characters stand on. essential to its deceit is the legitimacy of the conflict and rapport between characters, as well as the vital recording of every moment being as foreign to the characters as it is the viewers; the tension grows higher and higher due to the camera’s presence, but rather than an explosion of the deeply petty exchanges, there’s a dread-inducingly existential collapse. the scrounging for purpose and hope in the deafening echoes of their idle arguments and cyclical travels is rendered completely useless upon the acceptance of ruination, and worst of all, that’s exactly what the antagonist wants. perhaps an over-rationalization of something that is very purely terrifying and undeniably innovative, but there’s such an immense understanding of the inherent horror in every genre and district here. it’s brought about in a documentary format here, presented as realistically as possible to unearth a then unheard of medium for horror, all the while exploring a myth by blurring its two sides: believers and skeptics. as straightforward as these documentarians want to present their subject – and in part because of the corner they’ve painted themselves into – it’s, still, not quite reality. calculatedly brilliant and distressingly hopeless.

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