It’s the answer to the trivia question; what connects family favourite Back to the Future to the notorious video nasties, films banned by the UK government as potentially morally corruptive influences back in 1984? Cinematographer Dean Cundey warmed up for Marty McFly with this bleak, hard and for-sure nasty female killer drama, but it’s one that deserves a different kind of reputation. Actress Millie Perkins had once played the lead in Diary of Anne Frank; here she’s Molly, a troubled abuse victim who descends into madness, seducing, castrating and murdering men she sees on television while working in a seafront bar in Santa Monica. Despite the title, there’s no supernatural content; the title of this sleazy, yet erudite film relates to Botticelli’s Birth of Venus, which is discussed in some detail. The murder scenes are deeply unpleasant and it’s tempting to look away, but the rest of Matt Cimber’s film is no easier to watch, with a frank and unsparing treatment of the incest that Molly suffered, seen here in flashback. Written by Perkins’ husband Robert Thom, The Witch is more character study that exploitation film; almost like a female version of Taxi Driver from the same year. Perkins throws herself into a deep, troubling role, and Lonny Chapman, from Hitchcock’s The Birds, is support. This has, for obvious reasons, been a film that’s been put well out of reach of the public; this Arrow Films release may well generate a cult audience. Cimber went on to make the Pia Zadora vehicles Butterfly and Fake Out, but it’s arguable whether he, Thom or Perkins is the real author of this powerful, upsetting portrait of a wronged and sympathetic woman.