Polednice

“When we wanted to explain something to each other, we could say, ‘We want it to be like in this or that film,’ because I think we know films rather well,” director Jiří Sádek said of the creative collaboration behind the camera. How many times and in which stages of working on The Noonday Witch did they say, “We want it to be like in The Babadook”? Viewers who have not managed to avoid that essential horror movie of recent years will inevitably get a sense of permanent déjà vu from this film. The similarity of particular motifs, elements and formalistic techniques is so strong that it is impossible for it be a coincidence. While other young Czech filmmakers copy the formalistic techniques of foreign titles, the work of Sádek, Chlupáček and Samir borders on plagiarism. If we take that to the extreme, it can be said that while others use a familiar form to appeal primarily to viewers who are also well versed in cinema, The Noonday Witch is conversely targeted at unknowledgeable viewers, to whom it can pass itself off as an original work. At the same time, the filmmakers manage to superbly utilise local elements, which come across as lively and natural even though they draw on the standard contrast between the city and the countryside. Furthermore, the basic concept of a modern non-literal reworking of a canonical poem, built on the motifs of the unhappy aspects of motherhood, has great potential. Paradoxically, however, The Babadook is not only more refined and stylistically cohesive, but also a stronger and more faithful adaptation of Karel Jaromír Erben’s book on which The Noonday Witch is based. (10.07.2016)

When I saw the first trailer for The Noonday Witch, it raised great expectations in me, moreover, I like the poem of the same name for its depressingly suggestive touch, and even though it was announced in advance that it would be a free adaptation of Karel Jaromír Erben's classic, I still counted on the translation of the main motifs from the poem into the film. Which to some extent it did! To begin with, it must be said that The Noonday Witch is more of drama than horror, mainly about a new beginning for the main character, but also about issues of parenthood and human relationships. As far as the visuals are concerned, it's an above-average piece of work in terms of Czech production – I was most impressed by the predominant colour of the grain (and the overall golden colour), which made the unbearable heat the characters deal with all the more apparent. All the scares in worked well, even if they were few and far between, but as I said, this was more drama than horror. In short, a solidly made film that benefits mainly from the premise, the visuals, the convincing performances and (by Czech standards) a good musical score. (04.03.2016)

When I talked to anybody who has seen this movie, they would tell me that they didn’t really like it. But it’s interesting that they appreciated the atmosphere, the music and the acting performances. So, I didn’t understand what the problem was since I hadn’t seen it myself yet. The Noonday Witch is the kind of movie that only a true movie fan will appreciate, not a commercial viewer. It’s certainly not a horror, it’s more of a psychological drama; an amazing one, with an atmosphere that got heavier and heavier with each passing minute. Not only did I love the environment of the countryside surrounded by cornfields radiating heat that could warm you up in the winter, but I also loved just about everything else. For example, the acting performances were spectacular. Every single character was perfect, whether they were performed by familiar faces like Anna Geislerová or Daniela Kolářová or by the little-known Karolína Lipowská who was absolutely amazing. As far as male actors go, Jiří Štrébl was brilliant and he’s played his very first role in a fantastic way, just like Zdeněk Mucha who really made the unfortunate past radiate from him. I must say that I haven’t seen characters this great in a Czech movie for quite some time. I was also fully indulging myself in the music that was absolutely premium considering it was Czech; a simple, but intense piano adds a great suspense to the overall atmosphere. But I must say that I was a little disappointed with the ending that was too fast, but all-telling in terms of the original ballad that this movie is based on. I recommend all future viewers to expect an experience and not to compare it to American horrors; I’ve already heard such comparisons. The Noonday Witch is definitely worth watching and I’m glad that someone in our little country tried to shoot something different… and in a different way. (11.03.2016)

Despite the anti-symbiosis that has occurred between the viewer and Samir's film Hany, it is a joy to watch both his and Sadek's film The Noonday Witch. As a mirror of the literal transcription of F. A. Brabec, we finally have a working reinterpretation. In terms of the acting, it’s all about Aňa Geislerová, seconded by the magnificent Daniela Kolářová. The thick summer, decent gore, and a theme so natural to the contrasts between satire and creeping horror. It was a risk that paid off. The Czech environment is very well suited for smart and risky projects. (25.07.2016)

The plot could be summarized in one sentence, but the atmosphere of this film is priceless. For its better part, I was prepared to give it four stars. Unfortunately, the final act would benefit from another ten or fifteen minutes of running time – the way it is, I didn’t find the sudden shift in Geislerová’s behavior believable. If you discount some very light foreshadowing, the rest of the film was not headed towards this development, so the events of the last ten minutes or so are too jarring. If the gaps in the script had been bridged, this would be a masterpiece, and a very accomplished feature-length directorial debut. Simply put, it is a nice proto-horror film, evoking the atmosphere of a scorching summer with a camera that pans across golden fields of farmland and with an excellent soundtrack. (21.03.2020)