9 - A film that could have only been produced in cinema's transitional period from silent to sound; it takes the former's expressionistic leanings while adding a hazy, off-kilter experimental style of its own that feels like a genius stretching his legs into a realm of new possibilities. Whatever plot there is only serves to loosely frame the film's dream logic; and, like said logic, its greatness is irreducible.
Até hoje nunca vi um filme que lançasse sobre a imagem uma sombra de desconfiança tão grande. Dreyer dá a ver a impostura do visível, e tudo se mostra como um reflexo fantasmático, um falso ícone de um ainda mais falso deus (o vampiro). É um filme de terror platónico, portanto.
I rewatched this one, and it grew on me. Sadly, I watched it with Year of no Light's soundtrack; which is a mistake as I prefer my silent films silent. I love their music, and this was more a droney piece, than their heavier work; but as a soundtrack it really didn't work. Much too heavy, and very distracting. For the film, there are some really impressive segments and atmospheric imagery in parts, but as a whole...
As it's been said, it feels like a dream, and a little bit like rediscovering cinema. Narrative is straight forward (except for the... dream? hallucination? alternate reality?) but it succeeds in mood. Could make a great double feature with Carnival of Souls.
Very daring for its time, last time I watched it was in a double session followed by Only Lovers Left Alive and Dreyer was a master in suspense, expressionism, and photography. What I adore the most in this film is the possible conjuctures one can make with the book Carmilla, also a terrific work in the horror genre.