The impact of the works of Francisco Goya on the film's imagery
Throughout the film, Eggers evokes the work of Spanish artist Francisco Goya (particularly his "Black Paintings" series), who specialized in works that dealt with everyday life. In the aforementioned series, Goya explored the hold that religion had on his people, as well as the deleterious effects a mysterious goat had on vast swaths of people. The imagery in the film involving the family's life and their goat, Black Phillip, evokes Goya's work and reinforces the idea that art often imitates life and that seemingly mundane things are oftentimes the most interesting and complex.
The ramifications on William's psyche as a result of the witch's beauty
When William and Caleb first encounter the witch, she has disguised herself as an exceptionally beautiful and sexually appealing young woman. The contrasting imagery of her beauty with William's desperation and confusion underscores that evil can come hidden in beautiful, oftentimes surprising packages and things that aren't always what they appear to be. In other words, although she is beautiful, she is still capable of doing horrible things. The witch's beauty also illuminates some of William's motivations -- he is oftentimes more interested in appearance than actual substance, which leads him to sell Thomasin's prized silver cup, for instance.
The eviscerated goats
The stark and brutal imagery of the eviscerated goats, who the witch and her coven had disemboweled and put on display for the family, remind viewers of the danger the witch poses. It also shows just how vulnerable the family is: if the witch is able to get to the family's prized goats, who are under lock and key, what else is she able to do? The violent imagery causes the family to spiral as they begin to sometimes violently butt heads with each other.
The fickle nature of fire
At the end of the film, Thomasin decides to join the witch’s coven. As a part of her initiation ceremony, she completes a sabbath (a ritualistic ceremony) over a campfire. This imagery, which has roots in other art and in history, is eye-catching and reflects the harsh change from life on the farm, to life in a witch’s coven. Likewise, the ephemeral burn of the fire the witches are conducting their rituals over is contrasted with Thomasin and the other witches on their brooms, completing Thomasin's transformation from a naive Puritan girl into an evil witch for eternity.
