THE LOVE WITCH
Color, 120 minutes, NTSC DVD
PRE-ORDER DVD AND BLU-RAY
Say hello to your new obsession: A spellbinding homage to old pulp paperbacks and the Technicolor melodramas of the 1960s, Anna Biller’s “The Love Witch” is a throwback that’s told with a degree of perverse conviction and studied expertise that would make Quentin Tarantino blush. Shot in velvety 35mm and seen through the lens of a playfully violent female gaze, the film follows a beautiful, narcissistic young sorceress named Elaine (Samantha Robinson, unforgettable in a demented breakthrough performance) as she blows into a coastal Californian town in desperate search of a replacement for her recently murdered husband. Sex, death, Satanic rituals, God-level costume design, and cinema’s greatest tampon joke ensue, as Biller spins an archly funny — but also hyper-sincere — story about the true price of the patriarchy. There hasn’t been anything quite like it in decades. --THE NEW YORK TIMES
THE LOVE WITCH POSTER
Beautiful 27" x 40" full-color poster for THE LOVE WITCH painted by Michael Koelsch
Color, 120 minutes, NTSC DVD
UNRATED DIRECTOR'S COPY (No Extras)
With a plot stripped from a 1969 letter to Penthouse magazine, Viva tells the story of Barbi, a tired and naive housewife who sets out to discover the dark and seedy underbelly of the sexual revolution. With her best friend Sheila in tow, she encounters everything from prowling cougars, grandmotherly brothel madams and lesbian supermodels to full-blown sex orgies. Toss in a chiseled silk-robe sporting gay hairdresser who seduces his neighbor with "magic powder," a funk-gasmic soundtrack and some surreal David Lynch-esque animated and musical sequences and you've got one smoking hot slice of nouveau cult cinema. --Fab Magazine
ANNA BILLER: THE COLLECTED SHORTS
Color, Full Frame, 112 minutes, NTSC DVD $19.95
Compilation of Anna Biller's A Visit from the Incubus,The Hypnotist,Three Examples of Myself as Queen, and Fairy Ballet.
"Anna Biller creates worlds dripping with style that pull their viewers into a Technicolor dreamland that serve as a feast for the eyes. Focusing on personal and feminist issues set against old Hollywood, theatrical-burlesque, and mythical-allegorical backdrops, this isn't your typical feminist fare."-Film Threat
Volume includes Unlikey Genres: an Interview with Anna Biller, and Dated Sexualilty: Anna Biller's VIVA and the Retropective Life of Sixties Sexploitation Cinema by Elena Gorfinkel
ABSTRACT: An exemplar of the penchant for “dated sexuality,” filmmaker Anna Biller restages the profilmic universe of the sexploitation oeuvre in her film Viva (2007). Viva, in its indulgence in the material artifacts, conventions, and “dated” precepts of the genre and its period, encourages a historiographic reconsideration of the sexploitation form. This article argues that Biller's relay of her own spectatorship of the sexploitation cinema represents a way of imagining female spectatorship as a form of cinephile wandering through the historical frame — and through a cathexis on the world of forgotten bodies and discarded objects, both material and cinematic."
Expanding on recent work in gender, cultural, and audience-based studies, Peep Shows: Cult Film and the Cine-Erotic examines the global traditions of cult erotica, explaining key patterns, paradigms, and performers from the world of cult celluloid sexuality. Peep Shows includes profiles of porn performers and icons such as Ron Jeremy, Betty Page, Catherine Breillat, and Joe D’Amato. Essays also provide case studies of contemporary porn parodies, lesbian erotica, Japanese Pink porn cinema, Café Flesh, the Seduction cinema label, the dominatrix in erotic cinema, female porn viewers, burlesque cinema programming, and porno chic soundtracks.
Excerpt from Beth Johnson's essay in PEEP SHOWS: "While sexual discovery film has long been associated with political change (in both negative and positive ways), Viva can be understood as a film that is distinct from the current sexual discovery oeuvre in several ways. The thing that is distinctive and revolutionary about Viva is not the appropriation of gender politics and sexual inequalities in the 1970s, but rather, the fact that Viva, as a contemporary text, is informed by an understanding of identity as a historical transformation."
Beautiful full color poster from the movie