The Love Witch casts a Technicolor spell
Anna Biller's colourful confection is a hoot!
09 March, 2017 — By Dan Carrier
Samantha Robinson in The Love Witch
THE LOVE WITCH
Directed by Anna Biller
A dippy hippy witch, who seems to have decided that to be a feminist in late-60s America means celebrating a peculiarly sexualised and skewiff concept of womankind, leads this brilliantly stupid mock-horror film.
Elaine (Samantha Robinson) is thoroughly disappointed with the men in her life, so starts brewing up love potions that she feeds to lust-filled idiots on the coast of California.
As they fail to live up to her expectations, she despatches them from this mortal coil and moves on to her next victim.
Everything is just right – the colours of the print, the sets, the clothes, the cars, the language, the odd editing between shots, the hair dos, the pauses – it’s far too brilliant to be done by mistake.
Biller shows herself to have a furious eye for detail, and she parodies and spoofs and pokes fun with witty abandon. You could forget you are watching a contemporary take on-late 60s/early 1970s “erotic” horror B movies and instead wonder if somehow, as you walk past the box office and into the auditorium, you have fallen through some hellish time travelling trap door and are actually in a flea-pit cinema of some disrepute.
The feel of this film is absolutely spot-on.
What a hoot.