Netflix's NFLX new Spanish film, Coven of Sisters (Akelarre), directed by Argentinian filmmaker Pablo Agüero, from a script written by Agüero and Katell Guillou, is a chilling tale inspired by the witch trials of the 17th century that killed thousands of women and men throughout Europe. Set in the Basque Country in 1609, Coven of Sisters follows a group of women who are arrested after being accused of witchcraft. A judge, dispatched by the Spanish crown to travel through the country to persecute women they believe to be witches, puts the young women under trial to force them to confess they are witches. However, the young women find a way to postpone their execution as much as possible in the hope of escaping from this fate. This is a historical film about the witch trials in the Basque country, viewed through a contemporary lens. Due to an immersive cinematographic style and great performances, Coven of Sisters is a captivating and atmospheric film. Coven of Sisters starts with fire. The figure of a woman is burning, while two men look on. “How many more deaths” one asks, to which the other replies that he will not be satisfied until they have revealed the secrets of the Witches’ Sabbath to him. The original title of the film, “Akelarre,” is the Basque word for Witches’ Sabbath. As these opening images suggest, this is the story of a man with a deluded obsession. The man in question is an Inquisition cleric Rostegui, played by Álex Brendemühl. He wants to witness the Witches’ Sabbath, strongly believing its existence, and has gone on a killing spree to see it with his own eyes. He arrives at a new seaside village, welcomed by the young local priest (Asier Oruesagasti), who despite having known all the villagers all his life, will never object to anything Rostegui will decide. Rostegui and his delegation of priests and soldiers enter the village just as the men of the community, all sailors, have set sail. The women are alone, defenseless against armed soldiers. Soldiers come to arrest five young women, weavers in the village who are all close friends. In the brief moment before the arrival of the soldiers, the film quickly reveals the personality of these young women. Ana, played by Amaia Aberasturi, has a rebellious nature with an over-zealous imagination, while Katalin, played by Garazi Urkola, is younger and naïve. Thrown into prison cells, stripped to their undergarments, the five women have no idea why they have been arrested. It is slowly revealed, after each is taken by soldiers to be interrogated, one by one, that because they were seen going into the forest together, they have been accused of being witches. Understanding Rostegui’s obsession with the Witches’ Sabbath and his not-so-repressed sexual desires, Ana imagines a plan with her friends to tell him the stories he wants to hear, like Scheherazade in One Thousand and One Nights.


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