Feeling the need to make a new start, our Wiccan heroine has just left San Francisco following the death of her latest significant other, and arrived in California, where her friend and fellow coven member Barbara has a house. No sooner is Elaine settled into her new lodgings than she's up to her old tricks, enchanting and seducing the town's menfolk from under their girlfriends' noses in a quest to find 'the one.' For despite being a witch, Elaine is just the same as any other girl - she needs a man to make her life complete. But unlike other girls she uses magic to get her guys, often with disastrous results.
|Samantha Robinson as Elaine in another understated outfit.|
|Samantha Robinson slips into something more comfortable.|
The problem with The Love Witch is that beyond the look of the thing there isn't much else going on. It's a camp one joke film, although Biller insists it isn't a comedy but instead a dissection of the objectification of women and the subjugation of their needs to those of men. Well that's fine, but the subtext fails to fight its way through the layers of chiffon and lace, and the whole thing at two hours is just too long. Biller as editor, perhaps understandably, is loath to sacrifice any of her labour of love, and so some scenes, like the magickal rituals and an extended medieval whimsy, just go on and on. This lack of a sense of pace and constant parade of artifice, although beautifully done, ultimately makes The Love Witch a film to admire more than like, which is a shame because Biller is a promising director, and she certainly has a great cinematic eye. But really sometimes less is definitely more.