The earthquake sequence is SO IMPRESSIVE!!! wtf didn't expect it to hold up so well in 2025. Watching this randomly without having any idea about that sequence probably only added to my experience.
On the rest of it:
Someone here mentioned characters here feeling like screenwriter filling parts. It's true, but I also think that there is some bone to chew on here. The Innocent acts as a beautiful archetype that erases the dichotomy of worldliness vs Godliness. It sits…
This review may contain spoilers. I can handle the truth.
Here's what I saw: Contessa Serpieri appears to be high-strung, neurotic, and desperate (for something) from the very beginning. She is destined to be doomed, but we don't know why. She seems to have a compulsive drive towards her own fall/destruction/humiliation or whatever. She 𝘯𝘦𝘦𝘥𝘴 to be annihilated. The drive was there before she even met Franz, but he serves as a perfect vehicle for its realization.
Franz is a "sensual manchild" and a leech. He obviously never loves Contessa…
Rewatch. wow
Watching anything by Grandrieux is a mentally, physically and spiritually oppressive experience. The aftermath is like waking up from a particularly heavy-hitting nightmare.
You gaze into the abyss, and the abyss does not only gaze back into you, but snags your arm and pulls you in. You have trespassed into the realm of something bigger, older, and scarier than you. It was forgotten for a good reason. You feel the heavy, dirty fingers of countless unnameably primal entities…
Erkek arkadaşımın film sırasındaki yorumları:
“Orlok’ta bi problem göremedim” (İlk Orlok şato sahnesinde)
“Fatih’i anlamak…” (ilerleyen Transilvanya sahneleri sırasında)
“Kardeşim ölüden değil canlıdan korkacaksın” (Orlok lahitte uyurken Ellen’ın kocası içeri girince)
“Geçen tırnak makasını kaybettiğinde sen de böyle olmuştun” (Orlok’un elleri)
“Bundan sonra Kolpaçino 4 izleyelim mi” (Filmin bitmesine yakın)
