The Love Witch
Elaine enchants men with her charms, consuming them by the net full. Yet this narcissistic witch reverses the traditional roles of the sexes. A sophisticated feminist message in a fantastic 1960s setting.
Things end up badly for the men who are enchanted by the witch Elaine (Samantha Robinson). She lures them in with her voluptuous body and manages to make them drink a mysterious concoction. Then they are suddenly in love with her. The lovers lose their manliness and become fragile, emotional creatures. In her quest for a real man, that’s precisely what Elaine doesn’t want.
In this way, Anna Biller sketches a topsy-turvy world. In our society, women have to be very attractive, otherwise they don’t count. She tries to adjust the existing picture of female sexuality. It’s a feminist message, wrapped in a film whose staging was also conceived by the director. Biller designed the set and the Victorian dresses. It’s a subtle reference to Technicolor films and soft porn from the 1960s. With harpsichord music, burlesque, red velvet and sultry chairs, shot on 35mm.