Cinematic Doctrine

A Movie Podcast

Cinematic Doctrine is a mature, millennial-infused film/tv discussion podcast.

The Blackcoat’s Daughter: The Horror of Spiritual Loneliness

The Blackcoat’s Daughter – The Horror of Spiritual Loneliness

Melvin & Dan talk about one of Mel’s favorite movies, The Blackcoat’s Daughter, perhaps the most painstakingly slow burning, brooding mood slashers ever made. Also, Melvin gets really honest about why he loves The Blackcoat’s Daughter so much. 

Topics:

  • Melvin has wanted Daniel to watch The Blackcoat’s Daughter since they started the podcast. Finally, it happened. 
  • The Blackcoat’s Daughter shows various aspects of alienation, loneliness, and general social dysfunction despite its small cast. 
  • Despite The Blackcoat’s Daughter being set at a spiritually indistinguishable denominational school, an aesthetic choice likely chosen to add flavor to the horror, Melvin finds himself deeply connecting with the general atmosphere present within the film. 
  • The structure of The Blackcoat’s Daughter is extremely subtle, with even its timeline giving small yet pivotal narrative clues. 
  • Daniel read that Ozgood Perkins wanted the film to be about loneliness, which as stated before clearly comes through the film. 
  • The Blackcoat’s Daughter lends itself well to rewatching, both in shedding light on the narrative, and introducing more curiosities. 
  • When either a secular or religious person has no support system, they are prone to fill the void of community, companionship, and intimacy with risky and dangerous solutions often because those are easier or simpler to implement than an entire social structure. 
  • Melvin feels The Blackcoat’s Daughter displays a convincing, gentle, yet clear perspective as to why one may be attracted to evil, and he feels the film can help bring a sense of clarity and compassion toward an otherwise contentious subject matter.
  • There’s a really strong dream-like logic to The Blackcoat’s Daughter in which things don’t necessarily make real-world sense but heavily improve the film’s overall tone.
  • Daniel, “Helping somebody who’s [overtly] choosing something other than God… that’s a tough one. Because there’s something about the thing they’re choosing that calls to them uniquely.”
  • Melvin, “In terms of [The Blackcoat’s Daughter] a resolution to loneliness is companionship. But learning… learning to be a good friend is hard.”

Recommendations:

Emma Roberts in The Blackcoat's Daughter

The Blackcoat’s Daughter is Rated R for brutal bloody violence and brief strong language. It features Emma Roberts, Kiernan Shipka, Lucy Boynton, James Remar, and Lauren Holly. Directed by Oz Perkins. The Blackcoat’s Daughter is available on VUDU.


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Melvin Benson is the Founder, Editor-In-Chief, and Lead Host of Cinematic Doctrine. Whether it’s a movie, show, game, comic, or novel, it doesn’t matter. As long as it’s rich, he’s ready and willing to give it a try! His hope is to see King Jesus glorified as far as the east is from the west!

Melvin Benson Cinematic Doctrine Christian Movie Podcast Host

Cinematic Doctrine is available on iTunesSpotifyGoogle Podcasts, and other major podcast apps.

One response to “The Blackcoat’s Daughter: The Horror of Spiritual Loneliness”

  1. […] The Blackcoat’s Daughter is uncompromisingly slow and I Am the Pretty Thing That Lives in this House even more so (to the point of outright breaking people, honestly), and Gretel & Hansel felt a lot like Perkins becoming familiar with, let’s say… more conventional ideas of pacing. Unfortunately, I don’t think Gretel & Hansel came out very strongly, probably being my least favorite of his flicks, but it made sense to see him try something more commercial. If he wants to keep making movies at this caliber than he needs to be accessible. Then you have Longlegs which comes out with this incredible marketing push, exciting cast, and is a fairly decent movie overall. I think Longlegs is a little too much like The Blackcoat’s Daughter in terms of themes, ideas, and overall oppressive nature, and that all felt disappointing to me, but it was a good effort and solidified a lot of what I’ve come to understand about his style. Lastly, we have The Monkey, which honestly is one of my favorites he’s done, completely throwing many for a loop as this wildly strange horror comedy that feels like a mix of time periods and filmmaking styles. Perkins’ interests in the macabre are clear, playing with witches, incredibly impressive visuals, and an easy pace to boot. […]

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