“What do you men want?” she asks rhetorically. Elaine - a beautiful woman who probably doesn’t need to brew fatally effective love potions out of piss, nails, and period blood in order to make men fall for her - is wracked between the fairy tale fantasy of medieval gender roles and the dehumanizing reality of actually living by them. She looks like a Giallo movie’s impression of Lana Del Rey, the wind blowing through her long black wig as memories of the husband she poisoned to death flash in her mind. “I’m starting a new life,” she incants via voiceover, sitting at the wheel and staring into the camera with a lit cigarette in one hand and pools of blue eye makeup above both eyes. Guillermo del Toro's Favorite Movies: 45 Films the Director Wants You to SeeĪnd it only takes one shot to get you there: Elaine speeds down an oceanside highway, heartbreak and rear-projection behind her and a bright new future ahead. Oscars 2023: Best Adapted Screenplay Predictions 'Juniper' Review: Charlotte Rampling Is a Brazen Lush in Restrained Family Drama
New Movies: Release Calendar for February 24, Plus Where to Watch the Latest Films Mullen to resurrect the diffuse and gauzy look of vaguely sinister fare like Jacques Demy’s “Donkey Skin,” Biller melds old techniques with a modern perspective, conjuring a world that feels lost in time and completely true to itself.
Biller is a detail-driven visual fetishist whose previous work (including 2007’s “Viva”) has hinted at her gift for seducing genuine substance from an overflowing cauldron of style, but her new film is completely transportive right off the hop. Entrancingly self-possessed, “The Love Witch” announces itself with rare authority and conviction - the movie isn’t a minute old before its filled you with the first blush of a contact high from some seriously potent hallucinogens.
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