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At the London Film Festival this year, a striking number of films tackled the theme of motherhood, a reflection of both artistic focus and broader societal concerns. Many of these films, including ‘Witches’, were directed by women, marking a festival notably shaped by female voices. With 44% of films directed by female and non-binary filmmakers, the festival’s line-up sheds light on topics like postnatal depression, psychosis, and the societal expectations placed on mothers. An article in The Guardian about the film festival, aptly titled ‘Maternity in the spotlight’ (Kohmami, 2024) captures this collective turn towards exploring the depths and challenges of motherhood.
Beyond the festival, ‘Witches’ arrives at a time when the UK’s maternal health services are under scrutiny for failing to support new and expectant mothers adequately. Reports from the Care Quality Commission (2024) reveal ongoing gaps in care, especially for mothers from minority backgrounds, reflecting systemic neglect that is painfully relevant to ‘Witches’’ story. The film addresses not only personal but also societal blind spots in maternal care.
Directed by Elizabeth Sankey, ‘Witches’ offers a powerful portrayal of postpartum depression and psychosis through the lens of a new mother. Sankey uses personal narration alongside clips from classic films, weaving together an idealised, almost mythical image of motherhood. Images of dream-like mothers and babies fill the screen; an idealised phantasy world where new mothers go from ‘strength to strength’, are ‘glowing, feeling overjoyed and complete’, an image of endless emotional and physical resources. In these scenes, mothers appear serene and self-possessed, embodying a ‘good witch’ archetype like Glinda in ‘The Wizard of Oz’. The grainy footage of films from the sixties and seventies creates a soft, warm and nostalgic visual atmosphere, adding to the sweet, heavenly feeling portrayed in films about motherhood.
The gentle visuals