The Love Witch / Anna Biller (2016). This intriguing but not entirely successful indie film – a satire of both ‘60s B-horror and modern male/female relationships – is shot in bright, if not gaudy, primary colors on costumes and interior rooms. Elaine (Samantha Robinson) is a modern witch who just wants a traditional love match where the man is manly and she can be submissive. Even though a friend warns her that she is giving in to the male dominated patriarchy, this is what she wants. Things go wrong, though, when she plies men with her potion; instead of taking charge, they become weepy, needy, clingy pests. And then they die. “The Love Witch” is carried along on its attitude rather than a series of jokes. Unfortunately, not all the satire works. The all-nude dancing of the coven in the woods, instead of looking silly like I think the film intended, just falls flat. Even about a dozen naked people can not make it interesting. Still, for something minor and a little off-beat, you could do worse. Robinson is particularly good and sells it by playing completely straight, no winking at the camera or exaggerating for comic effect. Exteriors were shot in and around the coastal twin cities of Eureka and Acarta in northern California.