The Village shows off some of Shyamalan's signature screenwriting empathy and raises it to its highest degree.
As a young nerd in the early 2000s with a tumultuous family life, my internet connection was holy. Sure I had some friends IRL, but I never felt like I was fully authentic. Online, however, I could be myself. In fact I could be more than myself: I could be anyone. I could freely writefanfiction on the Neopets message boards and make my first online friends, whom I solely interacted with through AIM. The identity I chose was not some extravagant fantasy.
They have made their children, their grandchildren—every member of the village—unknowingly a part of their trauma, and traumatized them in turn with the threat of violence from strange beasts that want to drink their blood. The existence of this settlement is built on trauma and the attitude that running away from your problems is a coping mechanism. It is a constant reminder of the founders’ belief that nowhere else is safe for them.
That is a massive burden to be placed on one woman’s shoulders, and Shyamalan does not make her face and solve it. Instead, he shows her silently processing the truth through the film’s final act. As she hikes through the woods in the mud and rain, her radiance is dulled not only as she grieves for Lucius, but grieves for the carefree life she knew before. Her warm smile quickly fades from her face and she becomes pallid, stoic and quiet. She turns cold as her innocence is quickly shattered.
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