A poetic tale in eight chapters that questions predefined roles imposed by society. Young Jade flees from her posh London heritage background to explore her darkest fantasies and instincts in search for the newly proclaimed ultra-violence.
While undergoing psychiatric treatment, a mourning widow must confront and figure out the meaning of her recurring nightmares while experiencing a distorted illusion of what may or may not be her reality.
Sergio is just out of prison. He meets up with an old childhood friend, hoping for a fresh start, but it's not long before he feels even more hopeless about the life ahead than the one he just left behind.
This road picture follows a dope fiend named Rick, who believes his goal in life is to track down Ginger, a famous porn star who is currently staying in her Beverly Hills hideaway. Rick is ... See full summary »
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, and she ends up 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 1970s, THE LOVE WITCH explores female fantasy and the repercussions of pathological narcissism.
The Love Witch is Anna Biller's second feature film and my first time watching any of her works. The film is artistically spectacular - Costumes, shot making, colours, dialogue delivery - and original in scope. Biller commits to her genre (classic horror) and period-look (mid-sixties to early seventies, think "I Dream of Jeannie" or "Bewitched") and uses satire to turn the patriarchy on its head. It's a lot to try to accomplish in two hours. The film isn't without a few flaws. Sometimes the script is too thick and the pacing too slow, but overall, The Love Witch distinctively shines. Biller has a lot of promise as a director.
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