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The Love Witch: A movie about the evils of desire will soon be a cult classic feminist

Elaine is a beautiful sorceress who was abandoned by her husband. She tells us that looking for a new love: he wants a manly man, someone who is fascinated by his feminine charms (Games witchy words intended), but still the strong and silent type, do not pay attention to their needs and generally, Treat it like a trophy. A special and unique wish, perhaps, but achievable. This may not seem like a movie as the premise, the reflex brought about on feminism, but the latest from Anna Biller, The Love Witch, is just that: it's weird, shocking and beautiful to boot.

Elaine (Samantha Robinson) goes in search of love, which seduces a man who knows the park to get the man by his neighbor. But even if she finds out what she wants and properly adored, sought and treated as an object, her love affairs are usually fatal. Of course "love" is not what they really want - they seem more interested in power, exploitation or revenge. As we continue on the quest, bloodshed stuff.

But, of course, Elaine is not a realistic character and love witch is not about real men and women. Instead, it is the pursuit of fantasy, especially the irrational fantasies of man or the perfect woman. And this is greatly affected by the interest of its director the benefit offered by the genre films: the horror Hammer, romantic comedy of the 50's, hey-nonny-nonny music, the film noir.

By delaying action, many classic films, actors, quoting and jolting their roles, Biller pushes us beyond the simple story of a lovelorn witch. It encourages the audience to laugh at the act and its cliches. What we end up with is a challenging reflection on how old movies offer us pleasures of sex, especially those who have honed the police and the soft focus kittens involved.

The Critical Vocabulary The witch conjures love (as you can see) smells like the mid-20th century, when men were men and women were women, or pretended to be. Sometimes you expect Cary Grant and Grace Kelly on foot frame, smoke without guilt or ashes, flirt bleak stereotype of a good-natured playboy travel or femme fatale. Why do viewers wondering if you still enjoy these movies? What do we get realistic about looking at these heroes and heroines?

This makes the love witch sounds like an argument with no joy to censor the movie. But in reality, it is the opposite. Of course, he suggests, let's take advantage of the ridiculous Hollywood genre politics of mid-century if we know it's ridiculous. We play to be Doris Day and Rock Hudson and Victor Mature - after all, they were "play" in the truest sense of the word. Suppose we are princesses of fairy tales, and men in white boots. And, of course, witches.

The film goes all out, I like to help us play with these ideas. Its colors and textures are very tasty, filled with red lips pencils, creamy cake, veil and rubifacient pastel roses. Samantha Robinson, like Elaine, is a gorgeous outfit for another, 1955-1975, with equally good results. And why the surround sets are full of design classics: cars, lamps, hats, bags, chairs, rugs to buy right away on eBay.

But there is also a strange bottle of urine and menstrual blood flow. Although it is largely a joke, the film ends romantic contest horror comedy exploration, could any witch and television show movie, citing name: The Wicker Man, enchanted, bewitched, practice magic that a daughter devil, Suspiria, Season Of the Witch and many others.

Interest in witchcraft is a historic moment of popular culture, with Harry Potter on the one hand and American horror story: Coven, on the other hand: one is a fantasy of successful power for children and teenagers and the other is a festival Of adult sex and violence. It dramatizes women's power and the strengths and limitations of fraternity. Witches love is closer to the last.

Since it is not tied to a week of hanging pictures per week or data cards that love can witch absurd instructions or wandering Brechtian ban Biller. Bertolt Brecht Drama goal, the public, political facts to show behind the personal stories that attention to capitalist exploitation characterized the ability of the public break for the characters to invest that was before them. Whether the signs began with political statements to sing or to go directly to the public, the public could not hide behind to enjoy the action or speculation about their fictitious reasons, but they had to face the greatest economic truths.

Sometimes love witch operates in a similar way, although their focus is sex, not economic. The upshot is that viewers who do not know what is expected to be surprised by portions where land intentionally woodworking or is put to an ice song to sing or a conference on feminism. But if you know anything about the mid-twentieth century theater, you must be a lot of fun.

There are also considerations about witchcraft as a pagan religion in the film, which is interested in contemporary witches and perhaps provoke some modern nations. The scenes of a Wicca communities suggest that, far from liberating women, witchcraft, as intended in the 1960s and 1970s, it simply reproduced patriarchal exploration. Elaine is naked and in a way that has exposed sexual intercourse with cult leaders who appear to be like authorizing more abuse. Her friends are scary pseudo-feminist witches, and she herself is a "bad witch", pulling madness and death on her wake. This description is more about paganism in the film than in reality.

Witch Love is a sophisticated collage of film history and play a role in the popular, witch-clich├ęd culture. It's funny and sad, but most are a visual treat and make you think. If this sounds like your glass hellbroth, then love is a witch to you. I liked it, and I suspect that soon I will discuss it in the classroom as a cult classic.

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