The story begins in the 15th century, focusing on a young girl named Albrun who lives in a remote alpine cabin with her mother, Martha. The local villagers shun them, whispering that Martha is a witch. Martha soon contracts a horrific, wasting disease—implied to be the plague—and her physical and mental deterioration terrifies young Albrun. Following her mother’s painful death, Albrun is left entirely alone.
: The Hagazussa was a woman who existed on this exact threshold. She lived on the fringes of society, acting as a bridge between the known and the unknown, the living and the spirit world, herbs and poisons. Hagazussa
The name "Hagazussa" is derived from Old High German, with "haga" meaning "enclosure" or "enclosed space," and "zussa" or "susaa," which translates to "sow" or "female pig." This etymological breakdown provides valuable insight into the goddess's possible associations and attributes. It is essential to note that the understanding of her name and character has evolved over time, influenced by various interpretations and cultural exchanges. The story begins in the 15th century, focusing
The title itself provides the primary key to understanding the film. Hagazussa is an Old High German word that translates roughly to "hedge-rider" or "fence-sitter." Historically, it referred to a female spirit or shamanic figure who existed on the border between the civilized world (the village) and the wild, untamed world (the forest/nature). Over centuries, as Christianity dominated Europe, the term evolved into the modern German word Hexe (witch). The film uses this concept to highlight Albrun’s position as a woman trapped on the literal and metaphorical borders of society. 2. Misogyny and Religious Paranoia Following her mother’s painful death, Albrun is left
Because both films are slow-burn, period-piece folk horrors about ostracized women, comparisons to Robert Eggers’ The VVitch (2015) are inevitable. However, the differences are vital for appreciating Hagazussa .
: Women who lived alone, suffered from mental illness, or rejected patriarchal control were quickly branded as witches. Misfortune within a village—such as spoiled milk, livestock disease, or infant mortality—was blamed on the marginalized figure residing outside the town fence. Hagazussa (2017): Cinematic Evolution of the Myth
Sound is Hagazussa’s secret weapon. Rather than relying on a conventional musical score, the film uses environmental textures — wind, animal cries, the creak of timber — to build tension. When music appears, it’s sparse and uncanny, amplifying the sense of unease. The sonic landscape complements the visuals to create a sustained dread that is psychological more than spectacle-driven.