A new folk-horror film directed by Didier Konings explores themes of medieval fertility practices and feminist symbolism, according to multiple reports. The film centers on Frieda, a character played by Anneke Sluiters, who flees into the woods after escaping an attempted rape by a local butcher named Gelo, portrayed by Léon van Waas. In this medieval setting, the film suggests that those struggling to conceive had to seek help from dryads—forest spirits described as having antlered features—seen as more effective than modern methods like IVF. This premise blends historical folklore with contemporary themes, creating a unique narrative within the folk-horror genre. Frieda, previously criticized by her husband Hikko, played by Len Leo Vincent, for her inability to bear children, returns from the woods with a swollen abdomen. However, the villagers fear that this is the work of the devil, especially after discovering Gelo in the woods, dismembered but still conscious. The film delves into the villagers' fear of evil and their tendency to project this fear onto elements they cannot control, such as female bodies, emotions, and the natural world. This fear is a common theme in folk-horror films, where the unknown and the supernatural often serve as metaphors for societal anxieties. The film's feminist credentials are highlighted through Frieda and the "wise women" of the forest, as referenced in the original Dutch title. Frieda's ecstatic embrace of nature aligns with pagan themes common in folk-horror films. Konings, who has a background in concept art and visual effects, uses this expertise to create visually striking sequences that convey a sense of surrender to nature, described as almost Dionysian in style. His background in visual storytelling adds a layer of depth to the film's aesthetic and narrative. The film alternates between dark intensity and an authentic grimness, which is reflected in the dialogue. This visual sharpness adds an extra edge to the familiar witch-hunt narrative. With the folk-horror genre needing new contributors, Konings is seen as a potential successor to directors like Robert Eggers and Ari Aster, whose works have reinvigorated the genre with historical and psychological depth. His film offers a fresh take on age-old themes, blending visual artistry with a feminist perspective.