I was entranced by THE LOVE WITCH.
But then I think most classic horror film fans will be entranced by THE LOVE WITCH.
Yes, characters do use mobile phones and they drive modern cars, but the look, the styles, the cinematography, even the acting all seems to come straight from some early 1970s Euro-film. Seriously, if I saw this without knowing anything about it, I’d have thought – even with the mobile phones – that it was an artefact of the period. There’s the rich colour, that bright red paint blood (which Dario Argento was so fond of back in the day), and a script which doesn’t flow being performed by actors who are deliberately stilted.
A young witch (Samantha Robinson, who is superb) moves to a small town – which does, fortunately for her, already have a large witch/wiccan community – carrying a desperate need for love. Unfortunately none of the men she sets her sights on live up to her standards, none of them can cope with her passion, and – even though she’s willing to do everything for them – they end up loving her so much it takes them to death.
Okay, having rhapsodised over the film, I now have to throw in the caveat that perhaps all that artifice lends a certain distancing effect. As I found myself admiring it, while not necessarily being emotionally involved in it. It’s a film I’m not sure a lot of people will actually enjoy. Hell, I’m not sure I enjoyed it, but I did appreciate the hell out of it. THE LOVE WITCH is definitely a film that’s staying with me, one I’d recommend and definitely want to watch again.
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