THE CALLING WITCH is a 2025 horror film written by Chris Retts and directed by Mark Wilson. I had a good time watching it, and it got my heart racing quite a bit, something that non-theater viewings rarely manage to do. In an age where remakes and franchise sequels remain so prevalent, it’s nice to see such an original horror concept. I will always vouch for original and independent works, as I firmly believe that heart and soul will always shine through brighter than any large budget. That is my exact qualm with AI and why it can never fully reach the intellectual power that a raw idea can produce. THE CALLING WITCH has passion and a human touch behind it.
The cast is small but mighty. Danika Golombek and Grayson Eddie give memorable leading performances that make you care about their struggles, even before you receive any exposition. The dialogue felt natural, and the story was easy to follow, which led to a great twist I did not see coming. I loved the vibe It had remnants of the IDENTITY “As I was walking up the stairs, I saw a man who wasn’t there” poem, but I did not fully understand the story at first. I had to rewind it to make sure I fully understood the arc, beginning, middle, and end of the book. The illustrations done by Richard Ingersoll are absolutely stunning. The entire set decoration of Meredith’s Art Studio was beautiful, and I love the recurring bust imagery, especially the one with the empty stomach. I suppose I’ve never seen an animated horror book before, unless there’s an obvious example I’m blanking on. I was curious as to whether Meredith wrote this book for children. Adults? A folklorian type tale? All of the above? That was not a detail that distracted from the film’s plot, but rather a detail I began thinking about midway through.
The standout design aspect from the film was, without a doubt, the score. Composed by Jacob Boyd, it evoked the same emotions in me as the first time I heard the score for “THE SHINING.” It added so much depth to the scenes, specifically any jump scares, but not in the way that horror movies tend to rely on scores where they move from silence to a sudden bolt of music. It was riveting and added another layer, building to a climax and intensity that matched the emotions of the present moment. I don’t usually think about and make note of the scores, and I suppose that’s them doing their job well by blending into the scene. However, when you have something great like this, I find it worth mentioning.
The film does what many modern horror movies are doing, which personifies trauma into a tangible character and uses that to portray its metaphors. Watching this film, three distinct comparisons stuck out: “WOLFMAN” (2025), “KNOCK AT THE CABIN” (2023), and “WOMAN IN THE YARD” (2025). Taking the latter, which felt the most comparable to me, I think there is one distinct tool that THE CALLING WITCH managed to use that led it from falling into this trap, and that was not demonizing its subject matter. I am pleased to report that the film excels in capturing the complexities of parenthood. Nathalie Soderqvist does an exceptional job of portraying the maternal experience, as well as the sadness and longing that follow. The emotions from her and Golombek were genuine and raw, creating a lovely bond between the two actresses.
Mark Wilson has a great sense of direction in balancing the themes and emotions in contrast to the tense horror elements. The lighting and sound design work hand in hand to showcase the isolation of the woods at night and the bone-chilling realization that you are alone with no phone, no escape, and no contact with the outside world. The cinematography was stunning and had fantastic resolution. I loved all the little horror additions, such as figures moving in the background, white eyes glaring from the woods, and the parallels to the illustrated book.
Overall, THE CALLING WITCH is a quaint yet still thrilling 90-minute horror film that features great themes and commentary on the parent-child experience and the pain and loneliness that come with it. If you’re not a horror fan, though, this probably won’t be your favorite release of the year. If you’re a horror fan, I highly suggest adding this one to your radar.
THE CALLING WITCH will be released to rent or purchase on Prime Video, Fangango, and DIRECTV on January 20th, 2026.
