“Nothing short of astonishing — not only in the painstaking recreation of the mood, sets and look of the films she’s referencing, but how she spiritually re-appropriates that decorative world into something radical and new.” – Justine Smith, VAGUE VISAGES
“Casts a wickedly entertaining spell” – Frank Scheck, THE HOLLYWOOD REPORTER
Elaine (Samantha Robinson), a powerful, love-starved witch, comes to town and rents a room in a beautiful Victorian gothic apartment. Stopping at nothing to have men love her, she concocts many spells, but they all seem to have disastrous effects! Is she a bad witch, or are the men in her life simply rotten to the core? Spiralling into self-doubt only strengthens her resolve, and as Elaine keeps searching for the man of her dreams, bodies start piling up! But who could blame her? She simply loves men to death!
Renaissance woman and iconoclast filmmaker Anna Biller (VIVA) returns with THE LOVE WITCH, a loving and wickedly smart tribute to 1960s Technicolor melodramas, erotica and horror from the ’60s and ’70s – think Franco, Martino, Fulci! Dazzlingly decked out in the filmmaker’s signature aesthetic, which is one part spot-on pastiche (or neo-giallo), and two parts hand-crafted costumes and art direction (Biller also writes, directs, edits and scores her own films!), THE LOVE WITCH does more than emulate, however; it thoroughly subverts, shifts, ridicules and questions the often sexist gender dynamics of the cinema it is referencing – thus concocting out of it a potion as fresh and as necessary as it is potent. Shot on lush 35mm, and featuring a stunning performance from Samantha Robinson (who has nothing to envy of Edwige Fenech), THE LOVE WITCH is a perfect recreation of the past, as well as a healthy re-contextualisation of it – from the most important and impressive homage artist working today!
— Ariel Esteban Cayer