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first impressions are pretty much everything you would hope they would be. It’s Gonzo,
When it comes to figures, 🍐 Gonzo’s could hardly be any better.
during the base game, keeping play nicely balanced while climaxing in a round of 🍐 free
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original? Same symbols, same characters, and same mechanics, perhaps. However, enough
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WAY BEYOND THE VALLEY OF THE DOLLS - My Review of THE LOVE WITCH (4 1/2
Stars) Certain 🗝 filmmakers have earned that exalted status of "auteur" because of an
unmistakable voice and drive to have things their way. 🗝 Quentin Tarantino, Martin
Scorsese, Terrence Malick, and, not kidding, Sofia Coppola make films you can peg as
theirs within the 🗝 opening frames. By that standard, Anna Biller would be an auteur's
auteur, because she does almost everything - writes, directs, 🗝 produces, edits, paints
the art on the walls...I mean everything! It's taken 9 years since her prior feature,
VIVA, to 🗝 get THE LOVE WITCH made, and much of that time she has spent hand sewing the
costumes. It's all in 🗝 service of a very specific aesthetic hearkening back to the
Technicolor thrillers and dramas of the 60s and 70s. There's 🗝 a little bit of Hammer
horror, Russ Meyer kitsch, and Radley Metzler erotica thrown into the mix, but with a
🗝 more modern feminist twist. Nothing in her films resembles real life, and it's strictly
intentional. Ross Hunter, who produced the 🗝 types of artificial melodramas Biller most
likely emulates as well, once famously said, "The way life looks in my pictures 🗝 is how
I want life to be. I don't want to hold a mirror up to life as it is". 🗝 So what is THE
LOVE WITCH? It's the story of Elaine (Samantha Robinson), a witch who seeks true love,
but 🗝 her potions keep leading to disastrous consequences. She moves into a Victorian
boarding house in Eureka, California, and if weren't 🗝 for the presence of cell phones
and computers, you'd swear it was set in the 60s. When Elaine drives, Biller 🗝 and her
master cinematographer, M. David Mullen, use rear projection, reportedly as an homage
to the shots of Tippi Hedren 🗝 in THE BIRDS. The costumes, makeup, music, hair, high key
lighting and sets evoke a candy-colored dream land. Take the 🗝 camp out of BEYOND THE
VALLEY OF THE DOLLS or DESPERATE LIVING and you'll find yourself getting closer to what
🗝 THE LOVE WITCH has to offer. Elaine fills her world with erotic paintings and tiered
cake trays filled with an 🗝 endless array of desserts. She frequents a female-only cafe
where the customers sip on tea and listen to the stylings 🗝 of a harpist. She finds
friendship with Trish (Laura Waddell), a married woman who disagrees with Elaine, who
espouses using 🗝 "womanly wiles" to satisfy her men. Trish has more of a feminist bent,
but seems the unhappier of the two. 🗝 Elaine finds her power by looking and acting the
way men expect of women, but turns the tables on them 🗝 once she has them in her grips.
It's not played diabolically, however, as Elaine TRULY wants the love of a 🗝 good man.
It's as if she subjugates herself to the patriarchy, but her instincts can't help but
snuff it out. 🗝 A little warning. THE LOVE WITCH is long, slow, and filled with endless
pauses. It's a little too slow at 🗝 times and could have benefited with 10-20 fewer
minutes, but part of me wanted to just watch this movie forever. 🗝 The actors play the
material with the utmost of sincerity. There's never a wink to the audience. Speech
patterns are 🗝 stilted and nobody ever talks over each other. It's a world where men are
suave and women are luscious creatures. 🗝 Don Draper would kill to go to the strip club
in this film. Robinson exudes the perfect robot on lithium 🗝 quality of her character,
making this a strangely triumphant performance. Sharon Tate would have approved. Anna
Biller fully realizes her 🗝 vision, which is such a rarity in filmmaking, where
compromise and collaboration rule the day. Just try pitching a film 🗝 set in 2024 with
Renaissance Fair scenes, sacrificial rituals rife with nudity of the hairy bush
variety, and strippers twirling 🗝 pasties, and see how far YOU get with today's
executives. So is she an auteur? For holding steadfast to her 🗝 guns to make the films
she wants to make, Anna Biller comes across a pastiche artist but her feminist slant 🗝 on
the material is what has earned her the status as one of cinema's most original
auteurs. THE LOVE WITCH 🗝 is currently playing roadshow style in theaters all over North
America. Watch the trailer and check out its release schedule 🗝 at:
http://thelovewitch.oscilloscope/
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XML support is progressing nicely! Thanks to the great work of @evilpie, these games have become playable in Ruffle:
Note: Because 😊 Stage3D is graphically intensive, only the Ruffle desktop app can currently run these games well.
ActionScript 2 support is improving too!
Thanks 😊 to the efforts of @mike and @Dinnerbone, the desktop app now has a menu bar and context menu! You can 😊 also open SWF files by dragging them into the Ruffle window.
Ruffle now has a built-in save manager!
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