Written and directed by Emma Swinton, co-written by Emily Carlton, in 1612 Lancashire, Nursemaid Sarra is used to entrap Jennet, a child from a family of accused ‘witches’. But when Sarra’s fear of the girl turns to love, she’s compelled to betray her Master in England’s most infamous witch trial. Starring: Jo Hartley, Burn Gorman, Esme Violet Whalley, Chelsea Edge, Caroline Chesworth and Maureen Roberts.
As soon as you jump into The Witch’s Daughter, the aesthetic throws back to Gentleman Jack, it has that strong, detailed quality that makes the most of its period setting. Then Emma Swinton’s direction gives the feel of a classic drama, it’s not overstuffed or intensely stylised, it focuses on the atmosphere and emotion of the story. It moves well, it’s purposeful but not slow, it has a great use of the quiet and builds a compelling air of suspicion and fear, while exploring the conflict of grappling to hold onto your kindness and compassion in a cruel world.
Considering how inhumane witch trials were, they’re not often dealt with a weight which reflects that, but Swinton and Carlton try to dig into that brutal time. They do a great job of capturing its casual nature, how easily these heinous actions could be taken against women and children. The entire theme itself is still sadly very relevant, exploring how history repeats itself with ousting or attacking anything that’s different or misunderstood, and therefore feared. It’s a complicated topic but it’s dealt with in more personal terms through a lens of compassion and protective instincts.
Part of that ease into the subject is the performance from Jo Hartley, she brings this very grounded feel which gives the story such a kind, relatable perspective. Hartley does well to walk that line of deciding whether you will do what is right and risk your own future or bow to societal pressure. There’s a great simplicity to her character, a straightforwardness and friendliness that stands out amongst the cold and unforgiving. Which Burn Gorman ticks all the boxes of portraying, he has a talent for being wicked or controlling, his dark side is effortlessly convincing. Esme Violet Whalley then holds her own against these seasoned favourites.
The Witch’s Daughter takes a fresh approach to a familiar topic, switching up the perspective to be more personal and intimate rather than trying to explore the injustice as a whole. The period setting is captured wonderfully, it’s a well-constructed and captivating visual which builds a strong atmosphere filled with suspicion and fear. Jo Hartley leads the way with a hugely sympathetic performance which gently guides you through this story of cruelty and inhumanity.
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