A slow-burn folk horror with teeth, The Morrigan reframes the goddess as something older and sharper than pop culture’s “wicked sorceress” shortcut. Through a mother and daughter caught in a modern system built to drain women dry, the film turns possession into sovereignty, and rebellion into something sacred and brutal.
Cineverse
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The worship of the Morrígan is nearly as old as time, dating back to roughly 3000 BC. In terms of raw elemental power, she rivals a force like Gaia, the very breath and blood of the land itself. Yet, history has been unkind to her. In Irish lore, she was a terrifyingly complex sovereign; in modern literature, her role was flattened to fit the needs of the “wicked sorceress” trope. While pop culture often lazily grafts her onto Arthurian legend, those who hold The Mists of Avalon as the best may need to head back to school to “unlearn” the sanitized version of the goddess they’ve been sold.
Colum Eastwood’s expansion of his short film proves he’s done the homework. He frames the Morrígan not as a simple adversary, but as a goddess of death, regeneration, and rebirth. This is the core belief of Fiona (Saffron Burrows), a woman battling a modern world designed to “steal a lady’s thunder.” The film’s strongest thematic tissue lies in the parallel between the ancient and the modern: Fiona is reeling from a husband who has abandoned her and their daughter, Lily (Emily Flain), while being professionally bled dry by Professor Jonathan Horner (Jonathan Forbes). He is a leech who steals from his TAs while the world turns a blind eye.
Continue reading “Unleashing Colum Eastwood’s The Morrigan. Just Who Is This Phantom Queen?”
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Screening at the VIFF Theatre (Vancouver, BC) July 14 and 18th. Please click