In this paper I discuss, from a postcolonial perspective, Gemma Files' 2014 collection of interlocking short stories We Will All Go Down Together and the associated novel Experimental Film (2015) both of which are set, for the most part, in modern-day Ontario. Diaspora and displacement is central to both texts: the former focuses on time travelling refugees from the witchfinders of 16th century Scotland; in the latter a forgotten figure from Slavic folklore attempts to manifest her presence through the daughter of Northern European immigrants; the seven archangels of Mesopotamian Yazdânism are a presence in both. Disenchantment is also a central theme as beings of supernatural origin or ability find themselves in a world why no longer believes in their existence, due to secularisation and rationalisation. I focus on themes of power, privilege and status and analyse Files' use of the horror genre's capacity for estrangement to provide a critique of the enduring myth of Canada as the United States' kinder, gentler Northern neighbour.