Harvest (2025) Movie Review: Unveiling the Narrative and Themes | Roger Ebert’s Insight

Living through significant historical changes is something most of us can relate to in 2025. Some people feel the impact deeply, while others prefer to ignore it and carry on with their daily lives. No matter the approach, the shifts can start off subtle but soon become undeniable.

In Athina Rachel Tsangari’s film *Harvest*, set in a nameless Scottish village, the characters experience the transformation from feudalism to capitalism. Though based on a novel, the film powerfully illustrates Marx’s ideas about primitive accumulation through the enclosure movement. This movement shifted communal lands into private property, turning peasants into workers. While calling *Harvest* “fun” might be a stretch, it does bring these concepts to life, even if it occasionally drags on.

A significant factor in the film’s vibrancy is cinematographer Sean Price Williams. His use of rich 16mm film captures the tactile beauty of nature: the sight of snails gliding through soft soil and grasses swaying under a warm sun creates an intimate connection to the land. This makes the villagers’ looming eviction feel even more painful. The film contrasts earthy pleasures—food, drink, and the simple joy of a sunset—with the harsh realities of a capitalist future.

Some viewers may label *Harvest* as folk horror due to its themes and occasional eerie shots. However, this classification can be misleading. While folk horror deals with repressed historical elements, *Harvest* explores how those elements were repressed to begin with. The film also hints at the violence of witch hunts as methods of suppressing dissent, drawing from Silvia Federici’s insights in *Caliban and the Witch*.

One of the film’s intriguing yet perplexing characters is Mistress Beldam, portrayed by Thalissa Teixeira. She lingers at the edges of village life and captures attention, though her role seems somewhat disconnected from the main narrative. The protagonist, Walter Thirsk (Caleb Landry Jones), serves as an outsider who loves the land but is not originally from there. His link to the community is through the kind but ineffective Mayor Charles Kent (Harry Melling). Walter’s past, including a lost wife and a new relationship with a local widow, adds layers to his character.

Walter acts as a bridge between the villagers and the administration, earning their cautious trust. The story becomes more complicated with the arrival of Phillip Earle (Arinzé Kene), or “Mr. Quill.” Charles has hired Phillip to map the land, which is a symbol of the changing times. While Phillip sees himself as an artist, his mapping leads to dividing the land, creating barriers. It reflects how capitalism transforms relationships with the land and each other.

The film paints its main capitalist antagonist, Edmund Jordan (Frank Dillane), in a harsh light. He represents the creeping threat to these villagers and their way of life. Most of the other characters start with good intentions, but they lack a broader understanding of how their actions fit into history’s larger narrative. At one point, Charles expresses frustration, saying, “Everything is going, and I don’t know how to stop it.” It underscores the futility of trying to halt change. The best we can do is document these shifts, a task Tsangari approaches with impressive artistry.

In a world where statistics show a growing disconnect between communities and their environments, *Harvest* serves as a poignant reminder of the costs of progress. Recent reports indicate that urbanization and privatization continue to alienate people from nature, echoing the themes of Tsangari’s film. Exploring these historical shifts keeps us grounded as we navigate the complexities of modern life.

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