For the record: tempestuous name-dropping doesn't amount to philosophy just as casual bomb dropping challenged here won't add up to strategy. Wish Ferrara did what Kafka had attempted in Metamorphosis and Painlevé in underwater docs: recreate another species' Umwelt not through the lens of human Umgebung, our so-called objective space we impose scruplelessly upon all the rest, but from the changing alter-human angle.
Questionning human condition and the meaning of life in the devastated world and existential sickness we are living in. Heavy program but partly convincing exercise here. If I were Ferrara I would have chosen an other leading character to express his thoughts on those questions…anyway subjective opinion. The film got his scenes of excessive violence which remind me his earliest films, notably "the driller killer".
2-3 Lacks something in the way of consequences, but brings a number of morbidly interesting ideas to the table as a vampire film. To be clear, I don't mean that further representation of these ideas makes the film better, so much as the fact that the film may have somewhat found a new way to explain 'vampire' as a concept, while aligning with trends that are familiar to the vampire genre.
Our Daily Free Stream: Abel Ferrara - The Addiction. Gruselig, witzig und herrlich lächerlich! Das hier ist bestimmt das prätentiöseste B-Movie überhaupt! Das mit philosophischen Zitaten angereicherte Skript über einen rasenden Greenvich Village Vampir schämt sich nicht, Verweise zum Vietnam Krieg oder den Nazi Camps zu ziehen(...) (Dazu gibts unsere Film List mit postmodernen Vampirfilmen auf cinegeek.de
"I finally understand what all this is. Now I see, good lord, how we must look from out there. Our addiction is evil. The propensity for this evil lies in our weakness before it. Kierkegaard was right. There's an awful precipice before us. But he was wrong about the leap. There's a difference between jumping and being pushed."
Ferrara beats the audience over the head with his vampirism as drug addiction analogy until it no longer seems intelligent and instead becomes rather dull. The difficulty here is this; after establishing the central metaphor, Ferrara & writer Nicholas St. John have no idea where to take it. While beautifully filmed & performed, the end result feels academic; its philosophical musings obvious to the point of cliché.