The Love Witch
Elaine, a beautiful young witch, is determined to find a man to love her. In her gothic Victorian apartment she makes spells and potions, and then picks up men and seduces them. However, her spells work too well, leaving her with a string of hapless victims. When she finally meets the man of her dreams, her desperation to be loved will drive her to the brink of insanity and murder.
With a visual style that pays tribute to Technicolor thrillers of the ‘60s, THE LOVE WITCH explores female fantasy and the repercussions of pathological narcissism.
“It’s exhilarating and inspiring when a work of art comes along that defies all categories and upends expectations. That’s The Love Witch, an entrancing, emotional, intelligent and challenging picture that’s much more than the retro rumination some have pegged it as. The suggestion that it feels like the work of “the great granddaughter of Russ Meyer”… is too easy to slap on this picture. There’s a deeper, darker undercurrent lacing every moment, and it’s uniquely its own creature.” Kim Morgan, Sight & Sound
“Extravagantly fulfills the filmmaker’s intention to create ‘visual pleasure for women.” – Steve Dollar, THE WALL STREET JOURNAL
““Biller shot it, ravishingly, on 35mm and furnished every frame with uncanny precision; the result really could pass as a relic of the era. That it’s quite funny and charming seems almost beside the point.” – Calum Marsh, THE VILLAGE VOICE
“Sex, death, Satanic rituals, God-level costume design, and cinema’s greatest tampon joke ensue, as Biller spins an arch but hyper-sincere story about the true price of patriarchy. A spellbinding homage to old pulp paperbacks and the Technicolor melodramas of the 1960s, Anna Biller’s THE LOVE WITCH is a throwback that’s told with the kind of perverse conviction and studied expertise that would make Quentin Tarantino blush.” – David Ehrlich, INDIEWIRE
“At once hilarious and grotesque, with awe-inspiring costume and set designs that hark back to such low-budget curiosities as Hammer horror movies and the erotic cinema of Radley Metzger, Biller’s vision is less nostalgic throwback than genre-recalibration, putting a woman in a position of power as a perpetrator of violence against men.” – Craig Hubert, ART INFO
“A metaphysical astonishment. The costumes and furnishings, Biller’s own handmade versions of the era’s candy-coated extravagances, are as exquisitely arch and theatrical as the performances and the action, which—for all their comic exaggeration—echo with an uncanny symbolic power.” – Richard Brody, THE NEW YORKER
- 10/18 | 10:45PM