This film took many cues from varied sources primarily of those in the 60s and 70s and dabbling with the folk-psychedelic horror movies which centered on religious ceremonies, with Anna Biller handling multiple hats for her vivid film, among them director, writer, producer, film editor, production design and was creator of many of set creation pieces as well as costumes. She incorporated inspiration from Alfred Hitchcock’s Vertigo [1958], Psycho [1960], and The Birds [1963] intro to the that film has homage paid to in the beginning, retro gothic themes, and hint Mario Bava as well as Dario Argento, showcasing all of it proudly. She approached her film with a powerful feminist punch than a mere delicate touch, she incorporates themes of how society treats women through appearances and various styles in the movie. The film is best described as an arthouse horror film, distributed by Oscilloscope, which often has movies in the realm.
One major aspect of the movie that generates discussions between horror fans, is whether it is a horror film or not, it is not a true horror film, though falls more to folk-horror topics, it works through multiple artistic choices, so often the topic of witchcraft is linked to black magic and used as a trope in occult horror, herein the “witchcraft” is treated more as a religious function with a centralized character who is a witch with underlying themes that are psychosexually layered in notions, and potions, prayers, spells of romances, and carnal lusts, without overt sleaze, offset with gender instead of the man assumes the control and authority the woman exserts it to find exciting passionate love, or dangerous consequences. Therefore, to return to the primary question how do some treat the film as horror, it is misleading, just because a film thriller in the title doesn’t mean it’s horror it is as say Ghost (1990) with Whoopie Goldberg is a horror movie, it clearly is not, hence The Love Witch is definitely other worldly and settles between dark drama and thriller; that captures Biller’s unique and impressive vision.
The story’s central character is Elaine (Samantha Robinson (Cam [2018])), a modern-day witch, who is very aware about the power she holds over men, and seeks out a suitable lifelong partner and lover, giving herself over as a subservient to one who is stoic in nature and lacks emotion except for the love for her until death. She embraced witchcraft and had at one time joined coven which later disbanded, we later discover why, and now she relocated to Arcata, after the death of her ex-husband Jerry (Stephen Wozniak (Scarecrow [2002])) to be closer to her friend Barbara (Jennifer Ingrum (Bloodshed [2005])) and join her coven with their leader Gahan (Jared Sanford). In addition, she’s using both love and sex magic to find that true man who doesn’t have emotional issues or is too fragile, although it’s not working out very well for anyone.
Laura Waddell and Samantha Robinson
Hence, she believes she’s a Love Witch, but one comes to learn, her entire psyche is damaged, the viewer discovers with a Wicca witch believes in peace, harmony, openness to sex, but forbids all killing while the black witches i.e. black magic is the satanic arts that endorses the opposite, though this semi-twisted revelation is stated by a nonbeliever Professor King (Clive Ashborn) in the second act. After her arrival in town, she strolls through a strip of stores along her route various all stop and stare with lust at her, as she enters Moonrise Herbs storefront – a place filled with religious and ceremonial items for witches owned by Wendy (Jennifer Couch (CU Soon [2018])). As she strolls by lush green grass that appears more vibrant since film in Technicolor one hears ‘woof whistle’ she makes a connection to one of her first lovers is Wayne (Jeffrey Vincent Parise (Dark Reel [2008])) who drives them to his secluded love nest, he later gives a love potion which works more like a truth serum to reveal whether he’s a real man or one filled with insecurities, which is precisely not what Elaine seeks. The trend continues as she slithers her way among the various suitors with her memorizing look, next is Richard (Robert Seeley), a realtor and interior decorator friend of Barbara’s named Trish (Laura Waddell), once more there’s excessive emotional baggage that leads to more turmoil for everyone. As the bodies appear with occult symbols some townsfolks begin to condemn the witches and gives eerie vibes to that of Salem Witch Trials. Throughout the story Robinson portrays Elaine as thoughtful woman, innocent of any corruption only seeking to become dutiful to her man.
Gian Keys and Samantha Robinson
By the second half of the 2-hour movie the police have become involved, Detective Griff Meadows (Gian Keys) meets Miss Curtis (Lilly Holleman (The Den [2013])) about her missing friend Wayne. Soon afterwards he and his partner venture to Wayne’s cabin in the woods with Curtis and discover a very strange scene and a shallow grave. Elaine meets Griff and they begin a new budding romance. Strangely we have a mock wedding with voiceovers at a renaissance faire outing, it is a confusing scene that seems completely unnecessary. There are a series interesting lines of dialogue one that stood out for me, one was Elaine reflecting on death as Wiccan would, “we all become compost” and “all return once” her hinting she like to be reborn as a cat, i.e., all witches have pussycats, her black and white cat Greymalkin recently passed. For Elaine escapism is her salvation, a fantasy outside of the man’s gaze, where she is the center of not only her life but the true origin of all.
While folk horror is clearly noted multiple times, there are three others that are important to note, religious, psychological, and sexual horror. First religious horror, while some likely to point the zealot mindset though that doesn’t fully emerge to the end of the film with calls for Burn, Witch, Burn; the Wicca and Witches in general were ostracized by society for their paganism beliefs which is further insulted by Professor King’s usage of typical Hollywood Sensational Conspiracy Satanism trope; belittled by Griff (who apologizes) among others. Although in some religions and churches the sexual abuse has occur, it is suggested through flashbacks, Elaine was assaulted during a ritual, by Gahan, as she laid bare as the representation of the altar; this is part of religious-sexual horror. The other half of the sexual horror comes from the suggestion of rape in the burn witch scene when the bar patrons push her down on a dirty floor and men prepare to assault, while the reasoning is not stated one could summarize it justified retribution for the crimes that have been commit ‘normal’ society; it also harkened to mental/ sexual trauma and abuses from a previous lover. Finally the psychological horror comes in a few forms to exam, first the series of duality with the movie, the black and white of both witchcraft, elaine’s cat, and then usage of voiceovers as internal understanding of herself versus the narrative as external viewing; Anna emphasis of the witch to stand for a woman’s power to assert her beauty whether internal or external while going against the male’s fear of a woman’s sexuality and emotions as blasphemy rather to embrace stoic nature. The color palette in Elaine’s apartment is one room is cool blue tint and another is brighter and welcoming an extension of the color magic. I do hope that one notice Elaine’s changing of eyeshadow, as it changes with her behavior to various situations allowing for boldness to subdue depression. The colors of this are used to convey some hypnosis to the male gaze.
If it wasn’t for modern technologies, one might have thought this was a lost film locked away in a vault for the past 50-years, nonetheless Anna presents a wonderful 60s meets 70s retro look. The stunning display mixture of the visuals is dazzling, Argento and Bava should devour the vivid array of colors, splashed throughout the costumes, sets show dedication to the art direction that many million-dollar films lack. The tiny nuances noting in the illumination play of the lighting works wonders with the soft focus from a cinematographer as if a private waltz is occurring on the sets, encouraged by the foley and music. The camera works to recreate styles from 50 to 60 years ago from numerous directors, to help weave the subject material more evenly for the audiences. Another reference to cinema is Anna has many close-ups shots of Elaine’s eyes, to make the psyche connection, just like Dracula [1931] or even with Hannibal Lecter, in Silence of the Lambs [1991], the same technique is used as you can see here:
Dracula’s Eyes
Silence of the Lambs – Hannibal’s Eyes
Elaine’s Eyes
The acting is superb, especially regarding Robinson and the few times the movie start to linger and drag, the editing swiftly works to spring the emotional love/lust against the suggested controls/abuse, thereby giving many layers to examine within the film. Another wonderful aspect is the gore and blood splashes that aren’t overly violent, and at first one might think that inexperienced showing and rather it harkens back to present less is impactful by the manner itself filmed. This works to reveal the artistic intentions of the director and make connections past the mere visuals concerning romance, sex and the blurred gender lines of dominance and submission. Biller takes the clever page of Hitchcock and his masterpiece Vertigo when it came to details of everything that is presented before the camera takes a dazzling importance, its lens controls our eyes, welcomes us into this world, filled of illusions, and captures our imagination. One must not omit two important locations the first is the Bair Stoke House, which has witch-hat-turret located in Arcata, California which was built 1888 and is Queen Anne Victorian value at $1.4-million, pictured here:
Then Café Club Fais Do-Do in Los Angeles, which served as the location for the burlesque scene, but the lighting of the location makes it eerily like Ernie’s Restaurant in Vertigo, as both had red color everywhere and the casts’ clothing in both leaves stunning visuals. A side note concerning the Bair location’s appearance when Elaine is driving through the town the buildings show of the same design and style have neutral colors than the boldness of this place, again the psychological horror is deployed as this is something different from the norm. Speaking of colors, much is made from the rainbow stripes seen inside of Elaine’s garments, this is not a hidden LGBTQ+ message rather it is the inclusion of color magic, using various colors combinations attracts wanted attention; every one of every background uses it. Women accessorize with makeup, hair color choices, nail polish, even pocketbooks while for men it’s a hat or often enough their car considered an extension of strength and virility to simply a house color. For example, the red color is throughout the film Elaine’s clothes, suitcases, car, candles all of it represents different things to people but all the emotions boiling with her, passion, anger, love, lust, danger, blood, excitement, and destruction.
Lastly, listen closely to the score see where the compositions hint to Ennio Morricone and Bernard Herrmann, likely need to capture on second or even a third viewing of the film.
There’re a few key aspects for this film, as stated before it definitely isn’t for everyone, it deals and delves into the complicated issues of women and men relationships and how love can lead to twisted and abusive possessions, objectification of how prayers for vindication can lead the reckless disregard for personal acceptance and selective morals. For example, one discussion among the witches was the concept of marriage for those unlike them, the men seek it as bondage and control. Then want a woman to be a servant, a whore and fantasy doll, and consider their emotions as a bothersome illness. A controversial aspect is one of many hinting sometimes directly and indirectly. Especially if one thinks about when Elaine doesn’t harm other women does she consider them inferior or beneath her love spells, if Griff were a woman instead of man, what complexities would then arise, an interesting thought to ponder. While there are no scary moments, and the limited blood loss isn’t realistic it is loaded with cinematic lasting design, showing how the psychedelic horror can great influence horror themes of the. Herein this film would do well if presented with The Wicker Man [1973], The Naked Witch [1961] and Night of the Eagle [1962]. Some have wrongly linked this film to the exploitation genre; however, Biller works to distant herself from that as she presented her film with strong female point of view to the male gaze, allowing the seductress to overtake the male ego especially when confronted or encroached, become a predatory figure in their world thereby made them over to reflect a new fragility. Then again, if you really enjoy retro horror, then this might be the journey for fate wants to you take to discover tropes that hint towards Hammer Studios gothic films of the 60s to the obscure occult movies that hide in the shadows of the 70s and wee bit of slasher-serial killer for good measure, recalling what she stated with Wayne’s burial … from the shrine to ritualistic paintings of Tarot cards coming to life. See the movie…
Taglines:
- She Loved Men… To Death.
- She Loved Men…To Death.
http://www.imdb.com/title/tt3908142/
IMDb Rating: 6.2/10
Baron’s Rating: 6.0/10
Other Links for the Filmmaker Anna Biller:
https://www.facebook.com/annabillerproductions/
https://www.instagram.com/msannabiller/
https://twitter.com/missannabiller