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Amulets, or talismans, have been used for centuries to provide protection and good luck to individuals. These objects hold special meaning and significance in different cultures and are believed to possess various powers. In ancient times, amulets were often worn around the neck or tied to the body to ward off evil spirits and protect against harm. They were commonly made from natural materials such as stones, shells, bones, or herbs, which were believed to possess unique properties. For example, a stone with a specific color or shape may have been used to bring good fortune, while a herb may have been used for healing purposes. Amulets can also represent symbols or deities that are believed to bring specific blessings or attributes.

The opening shot establishes the film’s studied expertise as our protagonist, Elaine, drives a red convertible Ford Mustang down an oceanside highway. Her hair whips in the wind as she takes long drags from a cigarette. “I’m starting a new life,” she tells the viewers in voiceover. “I had a nervous breakdown after he left me.” We cut to her ex-husband drinking poison from a goblet. “I devoured everything I could about how to get your man back. According to the experts, men are very fragile.” With her bright blue eyeshadow, long black hair, angular cheekbones, and broken heart, Elaine looks right out of a Lana Del Rey album.

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. As she tells her friend Trish, we may be grown women, but underneath we re just little girls dreaming of being carried off by a prince on a white horse.

Amulets can also represent symbols or deities that are believed to bring specific blessings or attributes. For instance, in ancient Egyptian culture, the Eye of Horus was a popular amulet that represented protection, good health, and strength. Similarly, the Hamsa hand, used in Middle Eastern and North African cultures, is believed to provide protection against the evil eye and bring blessings.

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

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.

In today's modern world, amulets have maintained their popularity, although their meaning and materials may have evolved. Many people still wear amulets as a form of spiritual protection or as a personal reminder of their beliefs. They can be crafted from a variety of materials, including precious metals, gemstones, or even electronic devices. While the belief in the power of amulets is subjective and varies from person to person, their significance in providing comfort and a sense of security cannot be denied. Whether rooted in ancient traditions or adapted to fit modern beliefs, amulets continue to play a role in many cultures as tangible symbols of protection and good fortune..

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