W/ a live electronic score by Chiara Kickdrum, propelling proceedings with a throbbing synth line and muddied reverse incantations which sound like a seance in the cellar. Fitting for a movie that's pure atmosfear, imagery plucked from the ether that, like Twin Peaks The Return, can balance the goofy with the unnerving. Some adventures are only susceptible when your mind's open to them.
3-4. I got the conceit pretty keenly; it reminded me a lot of 'L'age D'or' and 'The Pearl'. I think it's really interesting as an early cinematic experiment. It gorgeously evokes didactic Christianity, just by the way it visually interprets its source material. But as a horror movie, I can't quite connect with it in the way I'd need to to be scared. But it is spooky and eerie and resonates with me in a human sense.
Un cuento fantástico. Notable por su indudable efecto de extrañeza, de fantasía onírica en una realidad onírica, en donde, tal como se advierte al principio del filme, existe un desdibujamiento de la realidad. Desdibujamiento otorgado por la no-linealidad del discurso y por la cinematografia de luces y sombras.
Extra 1/2 star added for overall creepiness and inventive camera work. This is basically a silent, and the minimal dialogue just adds to the ambiance in a beautiful way. The actors are essentially unknowns (a Dreyer trademark) & somehow it lends a documentary feel to the film, like it really is happening. Idk, I was blown away by it and loved Joan of Arc, maybe my fav Dreyer. Maybe you'll dig it too. 5 easy stars
A film that's rich with Dreyer's own cinematic influences and context, and still, there's something about the film, his films in general, that make it obvious you're seeing something new, distinct, formative to movies as we now know them, without which the medium would be poorer... The euphoria, though, is in the film's integrity; its perfect consistency of vision, and the sheer connectedness that must've come from!
Full of atmosphere, setting and beautiful use of camera and practical effects to simply cause unease and a deep sense of dread. The last act felt strange with it’s overt use of reading from the book to explain the occurances but beyond that gripe an amazing technological feat of film making and an uneasy watch for all.
Vampyr is really two movies: the first, a linear vampire tale that can be resolved easily by a stake in the heart, and the second, an eerie cinematic poem about the spirituality of contemplating death. And it's a testament to Dreyer's interests that the second film—the stronger one—so smothers the first that audiences were confused. A classic of arthouse horror, a literal journey through darkness towards the light.
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.