Herzog portrays the “fuck it we ride” vibes that accompany a deadly plague very well. The last meal scene is too good.
The Roma visibly and verbally exist largely as cosmological prop, which is more than we can say for the 1922 version, but it still just scratches the surface in terms of their relation to the Dracula myth. While that clearly wasn’t the primary concern in this film, their inclusion opens it up for interrogation.
The sexual overtones (emphasis…
Once Hutter dropped that locket, it was a wrap 😭.
German expressionist films stay hitting multiple affective registers via the eyes, but Greta Schröder outdid herself.
The varying uses of coffins worked really well. The carrying of one’s “final” resting place with them (the dirt), one of the cooler aspects of vampire lore, is conveyed quite effectively (shadowy strength, cursed earth, etc.).
I would have appreciated more time on the ship though.
And I gotta say, the venus flytrap scene? Brilliant.
(p.s. Vlad and Drac from Hotel Transylvania are top tier adaptations
“I’m torn between the fear of not being recognized by anyone and not recognizing anything.”
The questions of repatriation, return, curation, exhibition, and memory have traversed my mind for years. For the better part of the past decade I have packed, unpacked, packed up, smoked on the ex-pack of, and packed again my thoughts on these questions. So needless to say, I was looking forward to this film.
Diop’s DAHOMEY confronts the quandary of redress asa concept that sits at…
“Water always flows downhill… What you do upstream will always affect those living downstream.”
Evil is a matter of perspective. Hamaguchi refuses the blunt instruments of good and evil, opting instead for the scalpel that is existence. Inviting us into this world where existence hinges on the whims of subsidy providers, talent agencies, and glamping market projections.
Characters embody evil in one scene, and resist evil in the next. The film presents evil in a way that does not passively…
