The viewers are subjected to a seemingly never-ending loop of harsh noise, random dance numbers, windy monologues and violent encounters. Coupled with the fact that the film consists of dark imagery of sexual transgression and violence, this film feels like it is made outside of our normal world and as the film plays, it is like the viewers witness the conjuring of evil. In this case, Inland Empire is committing digital violence on both its characters and its viewers.

The move from fearing the witch to the acceptance of the witch between the films Suspiria (Argento, 1977) and The Craft (Fleming, 1996) demonstrates the reclamation of the term and character of the “witch,” and how this repossession coincides with the changes in perspective on feminism and women’s role in society over time.