"There's something magical in the fact that this film saw completion. Its aesthetic is contrary to what's considered profit-gathering material and this script could be collecting dust in an alternate world. It pops into the world bold, abrasive and monstrously relatable - seeing support for the film could cure any cinephile of their industry cynicism. Becky says: "From the very beginning, we were all women in our early 30s working together to bring this narrative to life, which made the process feel incredibly personal and connected.""
"The gendered restriction of hag-adjacent associations is something Anna sees as bleeding into the animation industry. Her film is situated as "an intentional reaction against the traditional tropes of female character design in animation - prioritising divine facial proportions, stick thin physics, and oversized breasts". Hag also goes against the commercial film grain, coloured in neon yellow, boggy greens and purples, chosen to be purposefully jarring."
The film intentionally reacts against traditional female character design in animation, rejecting divine facial proportions, stick-thin physics, and oversized breasts. Colours of neon yellow, boggy greens and purples are chosen to be purposefully jarring and to oppose commercial film aesthetics. Production involved a crew of 120, including a 55-person cleaning and colouring team; the film is co-written with Miranda Latimer and produced by Strange Beast's Becky Perryman. The project was completed despite being contrary to profit-driven expectations and emerged bold, abrasive and monstrously relatable. Traditional 2D techniques animate the Hagiverse, transforming London's Peckham into a mythical, fantastical landscape. Inspirations include Maleficent and Medusa, women feared, underestimated, and linked to magic and freedom at the edge.
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