We continue our Camp Cinema season in our second episode covering The Love Witch (2016) and Black Swan (2010)

Special Guest: Filmmakers Emily Gallagher and Austin Elston of Fishtown FIlms

As the dust begins to settle on the 2010s, the topsy turvy decade begins to come into focus. At the start of the decade, Darren Aronofsky released Black Swan (2010) to critical acclaim. I saw it in a packed NYC theater opening weekend. The buzz was palpable. Looking back now, especially post mother! and the rise of peak tv, the trashy and overwrought elements of Black Swan overshadow the great performances and wonderful cinematography, which is why we have selected as our Naive Camp film for this episode.

The Love Witch had a much quieter release in 2016, but it clicked with a small group of film lovers. While filmmaking is mostly a communal art, Anna Biller was so involved with every aspect of The Love Witch that it could only exist because of her. Biller's retro and kitsch style can not obscure the riotous passion for filmmaking and gender theory at the heart of the film. It is so campy that one could argue it is post-camp in that it is both obsessed with artifice and serious at the same time. At the very least, The Love Witch exists mostly in deviance of the ideas presented in Sontag's Notes on Camp.