2007
Resultado da Busca
Anna Biller is an American filmmaker who wrote and directed the feature films Viva (2007) and The Love Witch (2016). Biller considers herself a feminist filmmaker and consciously explores feminist themes throughout her work, including exploring the female gaze in cinema.
The Love Witch is a 2016 American comedy horror film written, edited, directed, produced, and scored by Anna Biller. The film stars Samantha Robinson as Elaine Parks, a modern-day witch who uses spells and magic to get men to fall in love with her with disastrous results.
Anna Biller is a writer and director who creates unique, female-focused, highly visual films. She has a BA from UCLA in art and an MFA from CalArts in art and film. Her first feature Viva played in film festivals all over the world and gained minor cult status, and her second feature The Love Witch won acclaim for its elaborate visual style and ...
- Director, Writer, Costume Designer
- 1 min
Samantha Robinson (born October 19, 1991) is an American actress. She is known for playing the lead role in the film The Love Witch, directed by Anna Biller. [1] . Her other roles include coffee heiress Abigail Folger in the 2019 film Once Upon a Time in Hollywood, directed by Quentin Tarantino. [2] [3] Early life.
Anna Biller is a writer and director who creates unique, female-focused, highly visual films. She has a BA from UCLA in art and an MFA from CalArts in art and film. Her first feature Viva played in film festivals all over the world and gained minor cult status, and her second feature The Love Witch won acclaim for its elaborate visual style and ...
10 de mar. de 2017 · The Love Witch: Directed by Anna Biller. With Samantha Robinson, Gian Keys, Laura Waddell, Jeffrey Vincent Parise. A modern-day witch uses spells and magic to get men to fall in love with her, with deadly consequences.
Anna Biller, BAMCinemafest, BAMCinemafest 2016, The Love Witch Over the last decade, Los Angeles-based film artist Anna Biller has eked out a small but fervid following; watching her films is like undergoing hypnosis by means of feng shui, wherein the viewer is lulled into a stilted, cheeky and brilliantly manicured simulacra of golden-era Hollywood staging, blocking and delivery.
