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First-century science, people. You can’t make it up.

The attention to detail allowed Biller to create her unique take on the female gaze, and in the case of The Love Witch, that gaze draws from camp and classicism. The Love Witch takes the age-old adage that the female sex drive is a satanic force, and tells us that s nothing to fear as long as you re the witch.

The magic foam cleaner for cars is not only effective in removing dirt but also helps to protect the car's paintwork. It contains special additives that provide a protective layer, preventing the paint from fading or losing its shine. This protective layer also helps to repel water and other substances that could potentially damage the car's exterior.

H D - S E N S E I

DTS-HD Master Audio English 2007 kbps 2.0 / 48 kHz / 2007 kbps / 24-bit (DTS Core: 2.0 / 48 kHz / 1509 kbps / 24-bit)
DTS-HD Master Audio English 3237 kbps 5.1 / 48 kHz / 3237 kbps / 24-bit (DTS Core: 5.1 / 48 kHz / 1509 kbps / 24-bit)
Commentary:

DTS-HD Master Audio English 2057 kbps 2.0 / 48 kHz / 2057 kbps / 24-bit (DTS Core: 2.0 / 48 kHz / 1509 kbps / 24-bit)

English (SDH), none

Extras:
• Commentary with director Anna Biller, cinematographer M. David Mullen, star Samantha Robinson, and actor/producer Jared Sanford
• Behind the Scenes with Anne Biller (10:39)
• Interview with cinematographer M. David Mullen (10:55)
• 2 Deleted, 2 Alternate Cuts and 8 Extended Scenes
• Samantha Robinson Dance Audition (2:41)
• Unreleased Trailer (1:47), theatrical trailer (2:36)

Description: Elaine, a beautiful young witch, is determined to find a man to love her. In her gothic Victorian apartment she makes spells and potions, and then picks up men and seduces them. However, her spells work too well, leaving her with a string of hapless victims. When she finally meets the man of her dreams, her desperation to be loved will driver her to the brink of insanity and murder. With a visual style that pays tribute to Technicolor thrillers of the 60s, THE LOVE WITCH explores female fantasy and the repercussions of pathological narcissism.

Writer-director Anna Biller is clearly a fan of the powerful women in Russ Meyer’s sexploitation movies – films like ‘Faster, Pussycat! Kill! Kill!’ (1965). Her work, including 2007’s ‘Viva’ and now the hugely entertaining ‘The Love Witch’, seems plucked from the same Playboy-era universe of huge hairdos, heavy make-up and voracious female appetites. But Meyer could never make a psychodrama as sophisticated as this.

‘The Love Witch’ is cloaked in a retro wardrobe and soundtrack (much of the music, by Ennio Morricone, is sourced from ’60s thrillers) but is loaded with irony and a fluid sense of identity. Samantha Robinson (looking like she’s stepped out of a centrefold) stars as Elaine, who drives up the California coast away from her failed marriage. But don’t call her disenchanted. If anything, Elaine’s got more magic than most, casting sexual spells over unlucky men. We also learn pretty quickly that she’s a serial killer.

Elaine makes her way through a parade of male caricatures – a French literature professor, a frustrated married man, a lantern-jawed cop – but she’s always in control, toying with their sense of entitlement. Biller’s dialogue is intentionally stilted; she draws attention to the banal come-ons that once passed for romantic repartee, but also to the contortions that women had to strike in order to play the game. And nobody, it turns out, plays it better than Elaine does. But at what cost?

If The Love Witch simply raised the profile of its director, Anna Biller—a true auteur who not only wrote, directed, produced, and edited this film but also designed and hand made its sets and costumes—then it would be a success. Biller’s devout attention to detail in her films means we don’t get a lot of them, and it’s been nearly a decade since her last one, the sexploitation satire Viva. Happily, though, Biller’s tribute to the ’60s and ’70s witchcraft melodrama (see: George Romero’s Season Of The Witch) is not just an impressive visual and technical achievement. It’s also a nuanced statement on gender relations whose morals are as flexible as its formal qualities are rigid.

Samantha Robinson—who bears a striking resemblance to the title character in one of Biller’s presumed stylistic touchstones for this film, Stephanie Rothman’s The Velvet Vampire (1971)—stars as Elaine, an enigmatic widow who moves from San Francisco to a small California coastal town after the death of her husband. On the surface, Elaine’s worldview appears pathetically retrograde; she’s obsessed with finding true love through witchcraft and believes that a woman should devote herself to fulfilling her man’s every desire. But there’s a subversive edge to this philosophy, and not just because Elaine kills her lovers if they disappoint her (and they always do).

Image : NOTE : The below Blu-ray captures were taken directly from the Blu-ray disc.

The Love Witch looks excellent on Blu-ray from Oscilloscope Laboratories. The camera used was the Arriflex 35 BL with the negative and printed film format being 35 mm. It is brilliantly sharp with extremely tight lines. Colors show depth and the visuals are consistent throughout. It was transferred to a dual-layered disc with a supportive bitrate for the 2-hour film. It pristine with a shade of gloss and it seems impressively crisp - notable in the many close-ups. This Blu-ray has reproduced a very strong 1080P presentation. Wow.

CLICK EACH BLU-RAY CAPTURE TO SEE ALL IMAGES IN FULL 1920X1080 RESOLUTION

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