Anya Taylor-Joy’s breakout movie gave horror a different kind of female lead

Maria Loreto·Oct 23, 2026·Source

And it's free to streaming online

Anya Taylor-Joy has established herself as one of her era's most versatile actors. At 30, she's built a career across film and television, appearing in franchises like Super Mario and Mad Max, along with winning a Golden Globe for her role in The Queen’s Gambit. Earlier this year, she starred in the Apple TV series Lucky and will also play a major role in the cinematic event that is Dune: Part Three. Taylor-Joy is one of the few modern stars who comfortably fit the movie-star label, and it all began with her career-defining breakout role, which turned the final girl trope on its head — a girl who survives not by fighting, but by giving in.

The Witch premiered in 2015, serving as a calling card for Taylor-Joy as a rising star and Robert Eggers as a director to look out for. It also turned Black Phillip the goat into a contemporary horror icon almost overnight. More than a decade later, the film remains just as invigorating. Right in time for Halloween, it's currently streaming for free on Plex with ads. (It's also on Prime Video, included with your Amazon Prime subscription.)

What is The Witch about?

A wide shot of Thomasin (Anya Taylor-Joy) making her way through the dimly lit woods, partially obscured by the many tall, skinny trees, in a scene from The Witch

The Witch follows a devout, isolated Puritan family in 1630s New England, a time when witches, myth, and folklore quietly stood at the root of most people’s everyday fears. Following their exile from the religious community due to a dispute with the church, a family of seven is forced to relocate to the outskirts of society, with the dark, unmapped woods mere feet away.

The film is steeped in its historical setting, and its characters speak a dense form of archaic English, with religion at the very center of their lives. That can be a tough watch for modern viewers, but The Witch ultimately tells a simple story about a family hitting its breaking point.

With no animals left to hunt and their crops rotting, William (Ralph Ineson) and his wife Katherine (Kate Dickie) are desperate. They spend their days bitterly arguing in their cramped home and blaming each other for everything that goes wrong. Their younger kids absorb the tension (and perhaps Black Phillip's devilish whispers), acting out in ways that make everyone's lives more difficult. Things boil over when the family’s newborn, Samuel, disappears under the watch of their eldest daughter, Thomasin (Anya Taylor-Joy).

What follows is a haunting and violent tragedy.

Living deliciously

In a dimly lit shot from the movie The Witch, a young woman in shadow, seen from a distance with her back to the camera, approaches a fiery gathering further in the distance.

Thomasin quickly becomes the family’s scapegoat. Blamed for the loss of Samuel, she becomes the target of everyone’s projections. Katherine, consumed by grief, sees her daughter’s developing body as the devil’s work. Caleb (Harvey Scrimshaw), her younger brother, is drawn to her out of loneliness and a newly awakened sexuality. The twins’ overactive imaginations prompt them to accuse her of witchcraft. Even her father, who claims to be utterly devout and devoted, fails her. He sets her up to take the blame for the silver cup that he sold without telling his wife.

Spoiler warning, but when the imposing goat Black Phillip reveals his true demonic nature to Thomasin, she has nothing left to lose. The moment comes almost as a relief.

“Wouldst thou like to live deliciously?” is an iconic and chilling line, not only due to the tone and pitch of voice actor Daniel Malik, but also because it’s Thomasin’s only offer to let go. She signs his book, takes off her clothes, and walks into the woods that have been haunting her family since the start of the film.

It’s an ending that can be interpreted in numerous ways: as a tragedy in which Thomasin succumbs to the evil that destroyed her family, or as a positive tale of Thomasin’s liberation, in which she finds a community of like-minded women who were also cast out by a puritanical society that pitted them against each other. The typical final girl survives by defeating evil; in the case of Thomasin, she embraces it.

While the film served as a major debut for Taylor-Joy, it also introduced the world to Robert Eggers, a director with a unique and distinctive cinematic voice. Known for his atmospheric, meticulously crafted productions and obsessive attention to period detail, every Eggers film expands his vision of cinema, whether it’s the myths of the Vikings in The Northman (also a reunion with Taylor-Joy) or his most recent adaptation, Nosferatu, a key entry in the vampire canon and a reminder that these ancient creatures are far more than the sexy anti-heroes we’ve grown used to.

Eggers returns to theaters on Dec. 25 with Werwulf, starring Aaron Taylor-Johnson as a cursed man in 13th-century England. Whatever he does next with the myth, it’s worth revisiting where it all began: with a girl, a goat, and a choice.

The Witch is streaming on Netflix until Oct. 1.