Nightsiren, under the direction of the innovative Tereza Nvotová, emerges as a remarkable cinematic achievement that pushes the boundaries of conventional filmmaking. The film is a harmonious fusion of ‘magical feminism‘—a distinctive amalgamation of mysticism and feminist philosophy —with the multifaceted intricacies of human existence.

This synthesis creates a narrative that is not only visually stunning but also intellectually provocative. Nightsiren has long held my fascination, standing as a symbol of the transcendence of conventional genre boundaries and firmly positioning itself within the avant-garde domain of magical feminism. This nascent genre captivates with its celestial blend of the mystical and the feminist, a topic towards which I am keenly inclined, planning to explore further through future essays and meticulously curated watchlists, offering a wealth of insightful content on this enthralling concept

Expect more enriching content centred around the concept of magical feminism soon!

In this critique, however, I direct my analysis towards Nightsiren through the lens of ecosophical aesthetics, as articulated by theorists Patricia MacCormack and Félix Guattari.

A Journey Through Ecosophical Aesthetics: Nightsiren’s Ethereal Visual Mosaic

Nightsiren artfully constructs a narrative rich in cultural tales and personal revelations, set against the breathtaking scenery of the Slovakian mountains. The film narrates the story of Šarlota, portrayed with captivating authenticity by Natália Germáni. Šarlota, a nurse by profession, is drawn back to her ancestral village, a journey that compels her to confront her past and embrace the legacy of her deceased mother.

This homecoming sparks a path of self-discovery and societal challenge, confronting the deep-rooted patriarchal norms and outdated traditions of her community. The plot further deepens with Šarlota’s interactions with Mira, an herbalist played by Eva Mores, exploring themes of memory, trauma, and empowerment, giving the story a layered, emotionally rich dimension.

The Heart of Nightsiren: Šarlota’s Odyssey in the Slovakian Mountains

The cinematography in Nightsiren emerges as a distinct character in itself. The enigmatic Slovakian mountains, often cloaked in mist, are not simply scenic backgrounds but dynamic, influential elements in the storyline. The characters, especially Mira and Šarlota, resonate profoundly with their environment, embodying a deep symbiosis with the surrounding nature.

This visual storytelling vividly manifests the ecosophical aesthetics conceptualized by MacCormack and Guattari. To comprehend this notion, one must understand Guattari’s (2000, 2006) tripartite ecological perspective: environmental, social, and mental ecologies, which interlace our natural surroundings, societal frameworks, and human psyche.

MacCormack (2008, 2014, 2018, 2020) further elaborates on these ideas, incorporating feminist and queer theories, and advocating for a non-anthropocentric outlook that underscores our interconnectedness with the natural world. This stance challenges conventional aesthetic norms, arguing that artistic expression should actively contribute to a sustainable, equitable world, fostering harmony between human and environmental relations.

In Nightsiren, the cinematography does more than enthral visually; it intertwines with the narrative, reflecting the interconnectedness of all life forms, and embodying the film’s profound ecological and philosophical themes. This resonates with Maccormack’s MacCormack’s ‘ahuman theory’ from 2014 and 2020, advocating for the abolition of human dominance and promoting activism that acknowledges the non-human entities with which we share the Earth. Here, the concept of ecosophical spectatorship is introduced, focusing on affects and our bodily reactions to the film, rather than analyzing the narrative or searching for hidden symbols through conventional logic.

MacCormack’s (2008) ‘cinesexual’ (I tackled the topic of cinesexuality in my analysis of film Slow (2023) by Marija Kavtaradze) approach to viewership allows the audience to access non-discursive realms brimming with the deterritorializing force of asignification. As she explains,

’cinema’s essence is unknowable, its affectivity and our ecstasies are only limited by our desire’s constraints, and, as all cinesexuals recognize, cinema presents us with the overwhelming excess of the simplest elements within an image’ (2008, p. 1).

Lunar Reflections: Femininity and Cosmic Harmony in Cinematic Artistry

The perfect embodiment of this conceptual framework is the scene where Mira lies naked in the grass, embraced by moonlight, which is not just visually stunning but profoundly meaningful. The moon, often associated with femininity due to its cycles that mirror the menstrual cycle, symbolises regeneration, intuition, and the hidden power within. In this scene, Mira becomes one with the moon, embracing its mystery and bathing in its ethereal glow.

This act is a representation of feminine power, signifying Mira’s deep interconnectedness with the environment. It suggests that just as the moon influences the tides and natural rhythms, so does the feminine essence impact and harmonize with the natural world. This scene can be approached as a celebration of womanhood, drawing parallels with feminist theory that emphasises the strength and unique qualities inherent in the feminine.

Mira’s communion with the moonlight in the glade represents a reclaiming of her power, an intimate moment of self-realization and unity with the natural, cyclical forces of life. This cinematic moment delves into the theme of interconnectedness central to ecosophical aesthetics . Mira’s alignment with the moonlight in the tranquil glade is a visual allegory for the interdependence between the self and the environment, highlighting the concept that personal identity and empowerment are deeply rooted in one’s relationship with the natural world.

Echoes of Superstition and Reality: Deciphering Nightsiren’s Mystique

The film skillfully obscures the distinction between reality and superstition. The audience is left to ponder whether the events are tangible realities or mere projections of the characters’ psyches, shaped by local folklore. This ambiguity adds depth to the narrative, offering a reflective and thought-provoking experience.

While interweaving fiction and reality, Nightsiren addresses themes of rape and gendered violence with stark realism, portraying these societal afflictions as a generational curse. This depiction aligns with Guattari’s perception of art as a realm of resistance, opposing capitalist uniformity and advocating for diversity and uniqueness through various artistic forms (see especially Chaosmosis: An Ethico-Aesthetic Paradigm, 2006).

The Ecosophical Connection: Integrating Environment with Narrative

Nightsiren adeptly encapsulates MacCormack and Guattari’s ecosophical aesthetics. The environmental setting in the film mirrors the internal conflicts and societal dynamics of the characters, reflecting an interdependence that challenges anthropocentric views and fosters a connection with the non-human world.

Unlike conventional films like The Witch (Robert Eggers, 2015) or Midsommar (Ari Aster, 2019), Nightsiren diverges from standard horror and thriller conventions. Instead, it delves into societal dysfunction, concentrating on the perpetuation of violence and misogyny. The female-driven direction of the film adds genuineness and sensitivity to its exploration of societal issues, aligning with the ecosophical aesthetic that emphasises ecological consciousness and ethical engagement with gender and power dynamics.

In conclusion, Nightsiren is an influential commentary on the human condition, masterfully interlacing personal stories with broader ecological and societal themes. Its cinematography, deeply integrated with ecosophical aesthetics, transcends traditional storytelling, presenting a rich, layered cinematic experience that is both intellectually stimulating and emotionally resonant.

Bibliography:

Garnder, C. and MacCormack, P. (eds.). (2018). Ecosophical Aesthetics: Art, Ethics and Ecology with Guattari. London: Bloombsbury Academic.

Guattari, F. (2006). Chaosmosis: An Ethico-Aesthetic Paradigm. Sydney: Power Publications.

Guattari, F. (2000). The Three Ecologies. London: The Athlone Press.

MacCormack, P. (2008). Cinesexuality. Farnham: Ashgate Publishing Ltd.

MacCormack, P. (ed.).(2014). The animal catalyst: Towards Ahuman Theory. London: Bloomsbury. 

MacCormack, P. (2020). The Ahuman Manifesto. London: Bloomsbury Academic.