Domicile, as construct, and as set in a specific framework, when we pause to consider the implications of framing a home with images as presented in Anna Biller’s recent film The Love Witch, can provide a rich tapestry of symbols to analyze in consideration of the traditional public/private sphere divide presented in studies of femininity. Private scenes set in an apartment where Elaine, a young witch who desperately seeks love, creates magical artifacts for sale and casts spells, are said by her landlord to be framed in images drawn from the Thoth Tarot deck from the Crowleyan tradition an establishing scene. The images found in paintings on the walls are not actually identifiable as such, however. Original paintings soon become replaced by Elaine’s handiwork, like paintings in which she rips out the heart of men with a ceremonial athame (dagger) imagining herself as icon holding the reigns of a horse, while dreaming of many men. In considering the Crowleyan tradition’s core tenet: “Do what thou wilt shall be the whole of the Law. Love is the law, love under will,” and Elaine’s use of these spells to initiate relationships that transpire in the death of several men--we might interpret Biller’s portrayal of domicile as arena in which feminine agency is at its strongest--a place where woman can most exercise her own will, no matter how sordid it is. In contrast, scenes set in public--a smoky nightclub, in the confines of a police headquarters, and an open, airy Renaissance faire--create spaces in which Elaine futily attempts to express her sense of feminine agency. Here, Elaine’s ego is thwarted by the will of others and is eventually reigned in by an investigator and unruly crowd who will not suffer a witch to live. If we examine how repression expresses itself through the forensic trail of Freud, Foucault, and Hegel as Judith Butler presents it in The Psychic Life of Power, Elaine’s desire for bodily autonomy and matriarchal control over the process of life might present themselves in a more “rebellious” light. Butler states: “The psychoanalytic discourse that would describe and pathologize repressed desire ends up producing a discursive incitement to desire: impulse is continually fabricated as a site of confession and, hence, potential control, but this fabrication exceeds the regulatory aims by which it is generated,” (59). Butler also presents argumentation for a sense of love beyond the framework of power, a force that is “beyond interpellation,” in later chapters. In consideration of this theory, Elaine’s actions and Anna Biller’s ultimate statement might be interpreted through a lens that reads them in semiotic language that begs the world for a sense of feminine agency it just won’t seem to grant.