Hagazussa: A Heathen’s Curse (2017)

Hagazussa: A Heathen’s Curse (2017) is a slow-burn psychological horror film directed and written by Lukas Feigelfeld in his feature film debut. This German-Austrian co-production offers a chilling and atmospheric exploration of witchcraft, isolation, and the human psyche. Set in the 15th century, the film follows the story of a young woman named Albrun (played by Aleksandra Cwen), who lives in a remote Alpine village and is tormented by the dark legacy of her mother’s reputation as a witch. With its minimalist style and haunting imagery, Hagazussa invites viewers into a world of dread and supersтιтion, where the line between reality and madness becomes increasingly difficult to discern.

The film opens with a grim depiction of Albrun’s childhood, where she is isolated and shunned by the villagers due to her mother’s ᴀssociation with witchcraft. Albrun’s mother is ostracized for practicing dark arts, and her early death leaves Albrun to fend for herself in the same lonely and hostile environment. As Albrun grows into adulthood, the weight of her mother’s curse seems to hang over her, and the villagers continue to treat her with fear and suspicion. Despite this, Albrun remains a silent observer, tending to her simple farm life, until a strange and disturbing series of events leads her to question her own idenтιтy and her connection to the occult.

Lukas Feigelfeld’s direction in Hagazussa is deliberately slow and contemplative, creating a deeply unsettling atmosphere that mirrors the protagonist’s growing paranoia and isolation. The film moves at a measured pace, allowing the tension to slowly build as Albrun’s mental state deteriorates. Feigelfeld utilizes long, lingering sH๏τs of the natural landscape, emphasizing the vast and oppressive beauty of the Alpine wilderness. This isolation not only reflects the physical separation of the characters from society but also serves as a metaphor for Albrun’s emotional and psychological alienation. The landscape becomes a character in itself, both beautiful and menacing, as it seems to mirror the darkness that is slowly consuming Albrun.

The film’s atmosphere is further enriched by its stunning cinematography and haunting sound design. The bleak, snow-covered landscapes of the Alps are captured with a sense of desolation, enhancing the feeling of confinement that Albrun experiences. The sound design is sparse but impactful, with eerie noises and the natural sounds of the environment heightening the sense of unease. The use of sound, combined with the film’s minimal dialogue, creates a pervasive sense of dread, as the viewer is left to interpret Albrun’s experiences through visual and auditory cues. This approach intensifies the psychological horror aspect of the film, as the audience is immersed in Albrun’s deteriorating mental state.

Aleksandra Cwen delivers a haunting performance as Albrun, capturing the character’s internal struggle with subtlety and depth. Albrun is portrayed as a woman who is both a victim of her circumstances and someone who is becoming increasingly complicit in the dark forces around her. Cwen’s portrayal allows the audience to sympathize with Albrun, even as her actions become more disturbing and ambiguous. The film’s minimal cast ensures that Albrun remains at the center of the story, with the supporting characters acting as shadows that reflect her inner turmoil and the hostile world she inhabits.

At its core, Hagazussa is a meditation on the themes of witchcraft, fear, and societal rejection. The film explores the idea of the witch as both a victim and a villain, highlighting the way society can demonize those who do not conform to its expectations. Albrun’s journey is both a literal and metaphorical descent into madness, as she becomes increasingly drawn to the occult and begins to believe in the supernatural power that her mother once wielded. The film does not provide easy answers but instead invites the audience to confront the ambiguity of Albrun’s experiences. Is she truly being cursed, or is her descent into darkness the result of her own psychological breakdown?

In conclusion, Hagazussa: A Heathen’s Curse (2017) is a haunting and thought-provoking horror film that delves into the themes of isolation, witchcraft, and psychological torment. Lukas Feigelfeld’s direction and the film’s stunning cinematography create an eerie atmosphere that lingers long after the credits roll. The slow pacing and minimalist style may not appeal to all viewers, but for those who appreciate atmospheric horror, Hagazussa is a chilling and unforgettable experience. It is a film that challenges the audience to question what is real and what is imagined, making it a standout entry in the genre of psychological horror.

A Farmer’s Misplaced Hammer Led to the Largest Roman Treasure in Britain


Hoxne Hoard treasures. Photo by Helen Simonsson CC by SA-2.0
November 16, 1992 was the day which changed Suffolk-resident Eric Lawes’ life in a huge way. What he thought would have been an innocent search for a hammer he had misplaced on his farm in Hoxne Village, Suffolk, England ended up bringing him much more than he had bargained for — namely, uncovering the hiding spot of a long-hidden treasure. Based on the Guardian’s coverage of the story, Eric Lawes had been previously gifted a metal detector upon his retirement as a parting token. He decided to put his retirement gift to good use in order to locate the hammer which he had had some trouble finding. According to a 2018 Smithsonian Magazine article, when the device started recording that there was a strong signal coming from the earth, he knew that he was about to discover something big. As he started digging, it soon became clear to him that he had unearthed a treasure trove.
Hoxne Village. Photo by Duncan Grey CC BY-SA 2.0
Hoxne Village. Photo by Duncan Grey CC BY-SA 2.0
The Guardian reports that, when Lawes saw that his preliminary digging had yielded a few gold coins and silver spoons, he immediately contacted both the local archaeological society and the police department. Archaeologists came to the property the following day and had the area of earth holding the treasure carefully sectioned-off and removed. Their hope was that at a later stage, in their laboratory, they could examined the items in order to identify both their age and how they were stored.
Hoxne Hoard: Display case at the British Museum showing a reconstruction of the arrangement of the hoard treasure when excavated in 1992. Photo by Mike Peel CC BY-SA 4.0
Hoxne Hoard: Display case at the British Museum showing a reconstruction of the arrangement of the hoard treasure when excavated in 1992. Photo by Mike Peel CC BY-SA 4.0
When all was said and done, close to 60 pounds of items made from silver and gold were found on the site. These included more than 15,000 Roman coins, 200 gold objects, and several silver spoons. For archaeologists, this find — which later became labeled as the Hoxne Hoard — was an incredible discovery. AP News reported that archaeologist Judith Plouviez was over-the-moon about the discovery, saying that it was “an incredibly exciting and amazing find.” What’s more, another archaeologist, Rachel Wilkinson, told Smithsonian Magazine that this discovery was “the largest and latest ever found in Britain.”
Hoxne Hoard: Coins. Photo by Mike Peel CC BY-SA 4.0
Hoxne Hoard: Coins. Photo by Mike Peel CC BY-SA 4.0
Ordinarily, archaeologists would use radiocarbon dating as a means of identifying the age of ancient relics. However, they couldn’t locate any suitable material from the haul. Consequently, they determined the age by examining writing on the coins, as well as the ruler carved into them, estimating that the treasure was probably buried in either 408 or 409 AD.
The silver “Hoxne Tigress” – the broken-off handle from an unknown object – is the best known single piece out of some 15,000 in the hoard. Photo by Mike Peel CC BY-SA 4.0
The silver “Hoxne Tigress” – the broken-off handle from an unknown object – is the best known single piece out of some 15,000 in the hoard. Photo by Mike Peel CC BY-SA 4.0
Roman-era archaeologist Peter Guest told Smithsonian Magazine that “if you look at them a little more carefully, then they should be dated to the period after the separation of Britain from the Roman Empire.” He offers as part of his evidence the fact that almost all of the coins found in the Hoxne Hoard were clipped – in other words, small chunks of their edges had been taken off. These clippings would have been used to create coins which were similar to the Roman coins of that era.
A silver-gilt spoon with a marine beast from the Hoxne Hoard. Currently in the British Museum. Photo by JMiall CC BY-SA 3.0
A silver-gilt spoon with a marine beast from the Hoxne Hoard. Currently in the British Museum. Photo by JMiall CC BY-SA 3.0
Guest has a logical reason for this, arguing that “The Roman Empire wasn’t supplying Britain with new gold and silver coins, and in light of that, the population tried to get over this sudden cutoff in the supply of their precious metals by making the existing supplies go further.”
Reconstruction of the Hoxne treasure chest. Photo by Mike Peel CC-BY-SA-4.0
Reconstruction of the Hoxne treasure chest. Photo by Mike Peel CC-BY-SA-4.0
Archaeologists also believe that the treasure belonged to a Romano-British family. During that time, considering that there was so much societal discord and upheaval, it was common for Romans who had settled in Britain to bury their most prized possessions.
Two gold bracelets from the Hoxne Hoard, in the British Museum. Photo by Fæ CC BY-SA 3.0
Two gold bracelets from the Hoxne Hoard, in the British Museum. Photo by Fæ CC BY-SA 3.0
That said, one archaeologist is of the belief that the hoard had a lot of sentimental value for the Romano-British family to whom it is believed to have belonged. In her book The Hoxne Late Roman Treasure: Gold Jewellery and Silver Plate, Catherine Johns claims that the manner in which the treasure was kept supported this claim. Some of the items which were recovered had been packaged in small, wooden boxes which were lined with leather. What’s more, pieces of wood, locks, and nails, among other things, surrounded the gold and silver pieces. This leads Catherine to assert that the package was carefully buried and not simply chucked away in a rush.
Three silver-gilt Roman piperatoria or pepper pots from the Hoxne Hoard on display at the British Museum
Three silver-gilt Roman piperatoria or pepper pots from the Hoxne Hoard on display at the British Museum
Interestingly enough, the items unearthed might shed some light on the identity of the family who owned them. They cite a gold bracelet bearing the inscription “UTERE FELIX DOMINA IULIANE,” which roughly translates to “use this happily Lady Juliane”. A second name “Aurelius Ursicinus” has also been discovered. This has consequently led some to believe that Juliane and Aurelius were the couple and the original owners of the treasure. That said, that has yet to be confirmed.
Two toiletry items, one in the shape of a crane-like bird; the other with an empty socket, probably for bristles for a makeup brush. Photo by Fæ CC BY-SA 3.0
Two toiletry items, one in the shape of a crane-like bird; the other with an empty socket, probably for bristles for a makeup brush. Photo by Fæ CC BY-SA 3.0
All in all, the discovery was a real treasure for archaeologists, and by extension, for Lawes. According to Smithsonian Magazine, in recognition of his discovery and willingness to contact authorities, the British government rewarded him with over £1.7 million, an amount which he shared with the farmer whose land was dug out in order to get the treasure. Funnily enough, apart from the treasure, Lawes also found his lost hammer — which now resides in the British Museum.

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