Homesex movieThe Love Witch (2016) Movie Sex & Nudity

The Love Witch (2016) Movie Sex & Nudity

A woman urinates into a jar. the shot shows her thighs and the jar with her urine dripping into it.
Simulated sexual activity is featured, but is not excessive.
The film features 2 scenes where the protagonist dances suggestively in front of a man, undressing slowly down to underwear, thighs and garter and butt cheeks seen, breasts mostly obscured by hair but some nipple shown.
Man carries woman to bed to “make love”. They kiss and writhe in bed, man is seen from back during sex, bare buttocks, woman’s legs spread to accommodate him – no thrusting but fairly intimate. She moans
Man tells woman he wants to “make love” and kisses her passionately
Woman in lingerie rubs her hands on her body and moans
Full body nudity is featured on several occasions, but is mostly not excessive. non-sexual and genitals are obscured by hair or other items.
The film also contains frequent scenes of nudity typically seen in scenes where occult rituals are performed with a pair of fully nude male and female witches visible in the background. Penis, breasts and female/male pubic hair clearly visible. Not sexual – they are just naked. We see this scene several times.
There is also a scene featuring full body nudity where the witches can be seen holding hands and walking around in a circle as part of a ritual. Breasts, pubic hair, buttocks and penises are seen (non-sexual).
In addition, the film features shots of paintings of naked women, including a painting of a naked woman with another man positioned beside her while another man is positioned near her genitalia. Several fantasy paintings show bare breasts and pubic hair
Women discuss how they use sex to enable men, fulfill their needs or get them to do things
Voodoo dolls have breasts and pubic hair drawn on them
Men enter a burlesque club, costumed but clothed women dance on stage. 1 women strips down to a skimpy costume and shakes her breasts and butt – pasties cover her nipples
Man kisses a clothed woman on the crotch, chest and cheek
Several references to love/sex magic
Clothed Occult leader climbs on top of restrained nude (but covered) woman during ritual.
Man presses face into nude woman’s chest (no nudity)
Man kisses body of nude woman during ritual (genitals obscured)
Man grabs a clothed woman’s breast (uninvited)
Man and woman strip to underwear (non sexual)
Woman in bra and panties gets dressed


Film review:Translated by www.rabudo-ru.com


The Witch of love is very strange. Its retro burst. From photography, lighting and shooting methods, it is highly restored to the evil classic films led by British and American Satan witchcraft films in the late 1960s and early 1970s and European cult films such as Jesus Franco and Jean Lorraine. Its retro tone is deep into the bone marrow, which is mainly due to the meticulous research of Fu Huadao. If you don’t say that this is a 2016 film, it’s difficult to identify unless you see the mobile phone at the end of the film. In this era, it is definitely a knowledge to make a film with the texture of an old film.

First of all, you should be familiar with the film genre you want to make. You can apply the shell of that era to reflect the current issues. We can first familiarize ourselves with the American films about black magic, Satan and mysticism at that time. The most famous one is Polanski’s rosemary’s baby (1968). Since the film was released and caused a sensation, exploitation films related to satanic witchcraft have become popular, such as Dunwich terrorist incident (1970), witch season (1972), King Simon’s Witch (1971), etc. However, most of these films are directed by men, which are permeated with eye effects such as female carcass and violence. This subtype began to disappear in the 1980s, and Polanski’s later ninth gate (1999) was a resurgent work.

First of all, this film was taken with 35mm film. The machine model used is Kodak vision3 250D 5207, vision3 200t 5213. The lens is equipped with arriflex 35 BL, Zeiss super speed lens. (source: IMDb)

Art is the top priority of “retro film”. If the environment is well done, actors can naturally immerse themselves in it. “Witch of love” has reached the extreme from the exterior to the interior, and then to the small details of various furnishings and props, and they can be filled very full. None of them is put in casually. The preparatory work is by no means overnight. This alone is quite touching. The only thing that annoys me is that police officers and police stations, like the products of the 1980s and 1990s, play a little.

To be familiar with the classic props of this genre in that period, tarot card divination was the classic props of Gypsy witches in the early 1970s (another props was the crystal ball). Tarot cards played an inestimable role in witches, whether it was the same type of film “devil’s bloody Carnival” (1973) or “007’s life and death” (1973).

The altar of witches’ divination is also a classic prop, which was seen in the film of Jesus Franco. Although each festival has different decoration methods, the following figure is usually the most common. A round altar cloth with five pointed stars, three candles, two on both sides and one in the middle.

Then there are actors. We need to find actors who are in line with the flavor of the times. Their appearance and temperament are particularly important, and then they can be adjusted through makeup and performance. French director Michael Hazanavicius is handy in this regard. Both the artist and OSS 117 series have matching actors. Except for a few characters in the Witch of love, most of the actors fit the character characteristics of the 1960s and 1970s, and the heroine is even a little feel of the Italian actress Edwige Fenech. Once such an actor is put into such a scene and matched with the supporting actors, the flavor of the times immediately comes to his face, including the old waiter at the bar in the film, who has a character state that can only be found in the old film. There must be expert advice behind the actor’s performance.

The director’s skill is natural. If the director is loyal to this genre, he will use the unique techniques of that era. For example, the heroine’s driving scene is completely handled by the rear projection screen in the old film.

The rear projection screen is a translucent screen with a firm underframe erected in the shed, which is used to put the background picture. The projector is placed behind the screen, and the foreground objects (actors, sets or vehicles, etc.) and cameras illuminated by high lumen lighting are placed in front. During the actual shooting, it is necessary to synchronize the shutters of the projector and the camera, and then shoot the performance of the actors in front of the rear projection dynamic or static picture. The photographer shall appropriately use a large aperture to make the rear projection picture slightly virtual in the positive film, so as to deepen the visual illusion of the audience. It is also necessary to ensure that the color temperature of the rear projection picture is consistent with that of the negative film in the camera to avoid mismatch.

However, in the 1970s, the synthesis technology of driving drama has made substantial progress. The Witch of love still adopts the effect of this old-fashioned rear projection screen, which is more for you to see that it is deliberately “retro”.

In the film, there are also several scenes used to show illusions and memories. The edge effect of “out of focus” + “dark angle” is used, and a main tone is used to make the bold colors that only appear in the old Italian lead yellow film (Giallo), usually red, yellow, green and blue.

During the intimacy between the heroine and the University Professor, the color neon lamp rotation effect and kaleidoscope prism are used in photography to show the professor’s mental state at this time with bright psychedelic effect. In terms of visual presentation, it is in line with the treatment of “pop art” in that era. Of course, this is the rest of Roger Koman’s play in the pill journey (1967). It can be seen that it is important to refer to the shooting skills of famous directors’ business cards in that period.

报错 笔记

RELATED ARTICLES

Catherine Zeta-Jones

Sunshine (1999)

Simple Men (1992)

LEAVE A REPLY

Please enter your comment!
Please enter your name here

- Advertisment -
Google search engine

Most Popular

Recent Comments