While a pretty woman without make-up is considered ‘pure’ and inoffensive because she does not appear aware of her charm (and thus her power), a fashionista with a little class inevitably falls into the category of the ‘femme fatale’: a woman who will use the ‘weakness’ of men to her own advantage.Īnna Biller’s The Love Witch doesn’t so much overturn this injustice as it revels in it to better expose how pernicious men’s fear of women can be. With that in mind, it becomes clear why movies are so often suspicious of beautiful, powerful female characters.
That is, one that frames women not as real people with agency or desires of their own, but as objects to be looked at. Feminist film theory has gone to great lengths to demonstrate that the mechanism of looking in cinema often favours a male gaze.
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