Hood Witch: A Thriller on Faith, Capitalism, and Gender

Hood Witch

Nour is a single mother who makes a living by smuggling exotic animals and illicit products. Accused of witchcraft after a man’s death, she soon finds herself on the run from an angry mob that chases her through the city streets.

A Horror Movie Review by Hope Madden

Hood Witch: A Thriller on Faith, Capitalism, and Gender

Thou shalt not suffer a witch to live. It’s a popular sentence in the Old Testament, one used to excuse a lot of needless suffering, mainly women’s. It’s not the only spot in the Bible that condemns sorcery, divination and what not. Jesus never mentioned it, though. (He never said anything about women being submissive to their husbands, either.)

Islam is no more forgiving, and Nour (Golshifteh Farahani, Paterson) is about to run afoul of keepers of both faiths and keepers of none in Hood Witch.

Co-writer/director Saïd Belktibia examines the muddy difference between a religion’s acceptable magic and harmful witchcraft. However similar the practice, the differentiator seems to be based primarily on whether a woman benefits.

Nour makes a living smuggling exotic animals into Paris, mainly to be used in rituals of healing. Newly divorced and struggling financially to raise her son Amine (Amine Zariouhi), Nour is in the development stages of a new app that will link users to a variety of different healers.

Nour knows it’s all smoke and mirrors. Her impressionable son is not so sure. Her abusive ex (Jérémy Ferrari, sinister) is willing to believe, as long as it’s a man of religion wielding the mirror and blowing the smoke, and as long as it’s his ex-wife who suffers.

Though Hood Witch is far more a drama/thriller than an outright horror film, it does follow a longstanding genre tradition of using witchcraft to point out religions’ hypocrisy and misogyny. But the filmmaker goes further, complicating characters by implicating capitalism as being equally dangerous—particularly to the desperate and easily manipulated—as religion.

Farahani delivers a fierce, passionate performance full of rage, compassion and vulnerability. Nour is sharp and not without a conscience, but when tragedy strikes it’s because of her meddling. The consequences, though, are deeply unsettling.

Belktibia’s pacing and framing match Nour’s panic, and it’s impossible not to panic along with her.  Hood Witch is a tough watch, as misogyny and apathy play out in the film the same way they play out every miserable day, infecting each generation like a poison. The rage that fuels Nour and the film is what feels most relatable.

“People think I’m possessed by the devil. I think I’m just angry.”

There are unexplored ideas and mixed messages that keep Hood Witch from becoming a great film, but it’s an angry, observant thriller and solid reflection of the time.

Further Reading

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