It’s Austria, circa 1750, and we open on a woman, devoid of emotion, as she quietly and chillingly casts her newborn over the side of a waterfall.
This is how the creepy “The Devil’s Bath” begins. Make it through such a scene, and the idea that Robert Eggers or Ari Aster-esque folk horror is to follow might start to take root.
This is not the case; the occasional jump scare and disturbing imagery notwithstanding, “The Devil’s Bath” sits far more comfortably as a psychodrama analyzing a newlywed’s place in society when bearing children becomes impossible and an escape from the role her family views as nothing short of inevitable leads down a truly upsetting path.
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