If you watch The Love Witch with no knowledge of its production or point of origin, you might assume it’s a lost gem of 1960s or 1970s filmmaking that’s only recently been recovered, restored and released to the public for niche consumption. It began in February with Robert Eggers’ The Witch, continued with the May premiere of Eiichi Yamamoto’s Belladonna of Sadness, went on into September with Blair Witch, and has now reached its conclusion with Anna Biller’s The Love Witch, a cult movie to be that’s best described as a timely throwback.
Sure, the history books will likely characterize 2016 as a real king bummer of a year, a year seasoned with celebrity deaths, police shootings, global human rights crises, a declining franchise movie culture, and our stupid presidential election cycle, but it’s also a year where genre cinema peered intently into a cauldron of mystical feminine power.
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