We live in an era of pastiche. In the lingering aftermath of the irony-drenched 1990s, young artists and patrons alike have mined the aesthetic of films from the ‘60s and ‘70s for camp value. As more and more modern films – particularly by young filmmakers – exploit these used aesthetics for laughs, it can be hard to tell where winking irreverence ends and sincerity begins. This is just part of what makes Anna Biller’s instant cult classic The Love Witch so refreshing, for while it emulates (very successfully) the heightened anti-realism of 1960s era pop filmmaking, it does so in a way that is entirely, boldly sincere. And while the absurd situations within the film often provoke laughs, you are always laughing with the movie, never at it.