Tribeca Festival 2024 Review: “The Devil’s Bath” – Soaked with Dread and Melancholy!

Based on historical records during the 18th century in Europe, The Devil’s Bath is a horror film that primarily fits into the genre of a period piece. It is an examination of what life was like for newlywed women and new mothers in the 1700s as they navigated their new lives of housework, childcare, and daily routines.

At the core of The Devil’s Bath, directors Veronika Franz and Severin Fiala’s purpose was to shine a light on this dark and often hidden part of history. Following Agnes (Anja Plaschg) the filmmakers are able to create a deeply sinister portrayal of the dark side of melancholy for women during this period. What results is a film soaked in dread and upsetting images, exemplifying a realistic portrayal of 18th century European women in Austria, that by the end leaves the audience feeling empty.

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Starting off positive, the Devil’s Bath possesses skilled production work that utilizes its setting and murky atmosphere to its advantage. Veronika Franz and Severin Fiala’s direction has a clear focus while using some impressive camera work and editing that makes the audience have to distinguish between reality and Agne’s maddening subconscious impulses. It is able to combine its period piece and horror elements to feel out of a chapter of a folk horror, even if its subject material does not correspond to folk conventions. It takes inspiration from the genre while creating a historically accurate tale that works by its own set of rules.

The Devil’s Bath for the most part also succeeds in making its audience feel the agony Agnes is experiencing, even if we aren’t emotionally attached to her. The constant bleak visuals and prolonged abysmal routine Agnes experiences, as well as seeing her slowly embark on a journey of self destruction, is a feeling the film in itself evokes. If this is where the directors wanted to go with the film, it succeeded in this respect.

However, the film possesses an extremely cold outlook, which although may have been accurate for Austrian women in the 18th century, distances the audience from feeling any sympathy for Agnes because it is constantly beating up its own audience to a degree that is unbearable. It makes it difficult to feel emotionally attached to Agnes or her situation, which seems to be the opposite of how the film is trying to come across. To shed light on such a hidden part of history should make audiences understand the importance of it being uncovered and connect with its brutal nature.

However, The Devil’s Bath comes across as filmmakers wanting to inform audiences of a terrible time in history but fails to leave any lasting impact other than nothingness. The main issue with this movie is it is admirable in its intent to inform, however, it beats us so hard to the ground that its ability to make a cinematic impact collapses. Its inability to be revisited and re-watched in the future is what will cause it to be watched, potentially praised, and then forgotten in cinema history, just as its subjects were.

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The Devil’s Bath will come and go because of this, which shoots itself in the foot in an industry where the greatest films are not only remembered but revisited for its emotional impact or incredible technical work. It is a shame that such an important part of history that continues to, in some ways, mirror modern issues women face, takes such a major toll on its audience that the theme of depression it is exhibiting will not have an affect on the genre as a whole. The Devil’s Bath is a one time watch that does not make enough of a point for itself to exist beyond its ending title cards that could be read with the same emotional impact.

‘The Devil’s Bath’ Rating – 2/5

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