The Devils Bath High Quality -
The Devil's Bath is a 2024 Austrian folk-horror film exploring 18th-century "suicide by proxy" cases, where individuals committed murder to be executed rather than face damnation for suicide. Directed by Veronika Franz and Severin Fiala, the bleak period piece was selected as the Austrian entry for the Oscars and streams on Shudder.
: A central historical phenomenon explored in the film is the act of committing a capital crime (such as killing a child) to receive a death sentence [10, 14, 22]. In a deeply religious society where suicide was an unforgivable sin that led to eternal damnation, individuals sought execution because they could confess their sins before death and still hope to enter heaven [1, 10, 19]. Tone & Reception the devils bath
V. Comparative Context: Folk Horror and the Female Gothic
The Devil’s Bath can be read alongside recent films like The Witch (2015), Hagazussa (2017), and You Won’t Be Alone (2022). However, unlike The Witch , which ultimately offers supernatural escape (Thomasin joins the coven in a moment of dark liberation), Franz and Fiala offer no such catharsis. There is no devil in the forest, no pact, no transformation. The only supernatural element is the belief system itself—the devil exists only insofar as the villagers believe he causes melancholy. This makes The Devil’s Bath more radical: it is a horror film without a monster, only a system. The Devil's Bath is a 2024 Austrian folk-horror
The film meticulously documents the cyclical labor of pre-industrial womanhood: hauling water, scrubbing laundry in cold lye, scraping animal entrails, tending to a dismissive husband (Wolf), and enduring the passive-aggressive cruelty of her mother-in-law (Gänglin). Each chore is shot in real-time or near-real-time, creating a sensory immersion in drudgery. The house itself becomes a grotesque womb—dark, damp, and organic. Molds bloom on walls; meat rots in the pantry. This is not the quaint “cottagecore” aesthetic but a biopolitical prison. Agnes’s failure to produce a child (she suffers repeated miscarriages and stillbirths) marks her as useless in this economy of reproduction. The film implies that her depression is not merely chemical but systemic: she has no role, no voice, and no escape. In a deeply religious society where suicide was
Agnes
The movie follows , a deeply religious woman who marries her beloved, Wolf, in 1750 Upper Austria.
Visiting The Devil's Bath
The Performances
Anja Plaschg delivers a powerhouse performance as Agnes. Her transformation from a hopeful bride to a hollow, tormented soul is heartbreaking to watch. It is a raw, physical performance that anchors the film’s more abstract moments. The supporting cast is equally strong, portraying the community not as evil villains, but as products of their time—indifferent, superstitious, and deeply unhelpful.
