samanehmoh I was surprised of watching an awful movie in 2016!

Uwontlikemyopinion Elaine (Samantha Robinson), a seductive witch, moves to California to start life anew after her husband dies. But something's amiss about the husband's death, foul play might be a reasonable culprit. Quickly, we figure out that poor Elaine is a complete psychopath (or is she a sociopath). Also, the men in her life can't get enough of her vivacious sexuality, at least they get their just desserts afterwards.I want to love this movie, but my intellect and emotions are at an impasse to enjoy this movie. Emotionally, "The Love Witch" imitates exploitation pictures from the 60s and 70s (it's so-bad-it's-good), specifically sexploitation (and Mario Bava movies). There's more than meets the eye, Anna Biller (the director) accomplishes in spoofing feminism and, more importantly, the male gaze (think of all the voyeuristic shots of Elaine dancing and sitting in lingerie). The film criticizes masculine behavior by warping the femininity of Elaine to cheap tawdry sleaze that only men can consume which removes her femininity. Meaning, everything turns on it's head when femininity is achieved by her victims and Elaine must either leave or destroy that feminine maturation. Essentially, this film embraces the changing perspectives of gender and sexual politics within men and women all the while being self-aware. That's no mean feat from Anna Biller who directed, wrote, produced, edited, and designed the sets and costumes. Intellectually, Elaine battles her desire and the way love appears in real life. Several films have examined this plight from "Leave Her to Heaven" (I wish I could find this movie) to "Black Narcissus" to the feminist masterpiece "Jeanne Dielman." To me, these films are more insightful and have a lasting impact. Scenes in the movie drag from slow-pacing to narrative structural problems. Obviously, this film's humor is an acquired taste with constant cheesiness which detaches me from the narrative and truly engaging with the material. Although the director loves her material from this story, a different editor could of helped with overlong moments and unusual pacing. While some may fall under "The Love Witch's" spell, I didn't.

Salman Khan The love witch has feminist undertones. unfortunately what those tones are I never got to know because they were buried under the heavy powder and bright lighting. this movie wants to be so many things that it's hard not to get annoyed.I feel like drive (2011) maybe was an inspiration, but where as drive knew exactly what it was and kept things in just the right amount to be entertaining and well paced the love witch dragged for way too long and wanted to ad so much more that it just became a bore. there were continuity errors which was absurd for a movie that is so delicately crafted. I don't know, maybe that was supposd to be funny somehow but it didn't work for me.the only thing that kept me from leaving it in the middle was samantha robinsons gorgeous face. seriously, MY GODso if you are looking just for eye candy this movie will work wonders but if you're in for anything more this is a huge let down

Argemaluco "Two hours!", I thought before watching The Love Witch. Most of the independent horror movies run between 80 and 90 minutes, and I usually prefer them that way, because they will probably won't have too much filler or irrelevant elements. However, two hours later, I ended up liking The Love Witch pretty much. Sure, the film still feels a bit longer than it should; however, on the other hand, the vision from director/screenwriter/producer/editor/decorator/costume designer/composer (I'm not kidding) Anna Biller requires that languid rhythm in order to establish the surrealistic "erotic horror" atmosphere cultivated during the '70s by European filmmakers such as Jean Rollin, Roy Ward Baker and Jess Franco. Besides, the slowness of The Love Witch allows us to admire the extraordinary Technicolor cinematography from that time, full of saturated colors, bizarre frames and long takes. Speaking of which, Biller composed a few songs for The Love Witch, but the soundtrack is composed by the work of masters such as Ennio Morricone and Piero Piccioni, whose scores for the films Il Diavolo nel Cervello and Le Mani sulla Città, among other ones, are a good complement to the dreamlike tone of The Love Witch. And I can't forget to mention the amusing performances from Samantha Robinson, Laura Waddell, Jared Sanford, Jennifer Ingrum, Gian Keys, Jeffrey Vincent Parise and Robert Seeley; their works seem rigid and theatrical, but it's an intentional decision which solidly complements the creative alchemy offered by Biller. Regarding the previously mentioned "erotic horror", The Love Witch includes some sex scenes, but they are never as explicit as the ones from the films it emulates; and besides, their semi-humorous context makes them seem almost innocent. For better or for worse, The Love Witch is a clear style over substance case; however, the style is so attractive that it compensates the weak substance to a big degree, so I partially recommend this film for what it says, but fully because of how it says it. In summary: a very interesting work from Biller, which reveals her as a filmmaker with a potent vision.