A group of college students decide to take part in a witch hunt tour inspired by a horror movie. As the adventure goes awry, the students realise that an evil being has followed them home.
The final minutes of Adam Wingard’s “Blair Witch” meaningfully expound 1999’s bombshell blockbuster “The Blair Witch Project,” finally delivering some of the answers that 2000’s terrible, unintelligible “Book Of Shadows: Blair Witch 2” passed over.
Knowing that the mirror's primary tactic is to alter people's perceptions of reality, she has rigged up numerous cameras, timers, lights and fail-safes in order to record what actually goes down as opposed to what her mind will perceive (a nod to Blair Witch 2, I thought while viewing, and director Mike Flanagan has since confirmed ).
There have been many apt comparisons of The Matrix Resurrections to Wes Craven's metatextual New Nightmare, but I was also struck by its similar thematic threads to Joe Berlinger's much maligned (and much misunderstood) Book of Shadows: Blair Witch 2, a film that acknowledges the existence of its hugely influential predecessor and seeks to interrogate its own societal impact.
Another intriguing element is how Berlinger plays with the differences between what the characters remember and what they capture on video, an idea borrowed more from David Lynch's masterful Lost Highway than from the first Blair Witch.
The Paradise Lost triptych, made between 1996 and 2011 by two directors of whom one, Joe Berlinger, went on to Book of Shadows: Blair Witch 2, was full of florid speculation reinforcing notions of a cultist killing.