Djuna is a beautiful vampire living in a wonderful mansion in Connecticut. She meets Paulo, a scriptwriter who falls in love with her. Djuna does not want to drag him into her inevitable destiny, but finally gives in to passion. When her evil sister Mimi suddenly arrives in the house, their love story and the whole vampire community are seriously endangered.
Alexandra Cassavetes (Greek: Αλεξάνδρα Κασσαβέτης born 21 September 1965), nicknamed “Xan”, is an American actress and director. She is the daughter of Greek actor-director John Cassavetes and actress Gena Rowlands. She is the granddaughter of actress Katherine Cassavetes. She is the sister of actor-director Nick Cassavetes. Cassavetes directed the feature-length documentary, Z Channel: A Magnificent Obsession, which explores the historic influence of the cable television station Z Channel. In 2012, Cassavetes directed and wrote Kiss of the Damned. It will be her first feature film. —Wikipedia
an ode to iconic 70's b-erotic horror pictures, cassavete's camerawork is impeccable, the score is absolutely on point, and the atmosphere and mood is all proper. people care about the plot, or the acting in a film like this? that clearly wasn't the intention of the film at all. a fun film worth a lot more than people are giving it.
Its obvious influences are welcome ones (for any 70s Italian genre fan at least), but it seems, as a film, strangely unaware of what's been happening in vampire and horror movies since. Case in point: the film's first drama derives from the tension of "will she or won't she" when it comes to Djuna (the vampire) "turning" Paolo (the human) so they can be united in undead love forever. This is territory already mined
(to death) by the *Twilight* films, which manage 3 film's worth of delaying and postponing and teasing before resolving this tension. In *Kiss of the Damned* it takes all of 15 minutes. Putting aside the issue of whether the *Twilight* films are worth watching, this still seems like something a post-*Twilight* vampire film should at least be aware of. These gaps in the script lead to a feeling of the film being underdeveloped and more than a little bit rushed.
The setpieces--with Paolo's agent or the guy outside the club--really feel rushed (the person I was watching it with kept saying, 'Wait--that's it? That's all they're gonna do there?'). Likewise with the deus ex machina that so conveniently and quickly solves the problem of Mimi in the plot. Too much homage; not enough story. (Though I will admit I loved both the soundtrack [including its callbacks to earlier films] and the character of Xenia.)
One of the best contemporary movie poster artists shares her influences and inspirations.