This ultra-hip, post-modern vampire tale is set in contemporary New York City. Members of a dysfunctional family of vampires are trying to come to terms with each other, in the wake of ...
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A year after Hurricane Katrina, Henry, a surgeon in the affluent Garden District of New Orleans, is attempting to get his life back on track. He is remarrying his ex-wife, renovating her ... See full summary »
Jason Butler Harner
The same situation is played out in different cities (New York, Berlin and Tokyo). A lover has to choose whether to commit to a partner who is returning home. In each case there are other ... See full summary »
Robert John Burke,
Isabelle is an ex-nun waiting for her special mission from God. In the meantime, she is making a living writing pornography. She meets Thomas, a sweet, confused amnesiac who cannot remember... See full summary »
This ultra-hip, post-modern vampire tale is set in contemporary New York City. Members of a dysfunctional family of vampires are trying to come to terms with each other, in the wake of their father's death. Meanwhile, they are being hunted by Dr. Van Helsing and his hapless nephew. As in all good vampire movies, forces of love are pitted against forces of destruction. Written by
Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu>
Since movie shares one character, morgue receptionist portrayed by David Lynch with deleted scenes of Lost Highway (1997), it is possible that they're set in the same fictional universe, which was confirmed by Lynch to be the one of TV series Twin Peaks (1990). See more »
In the opening dialog between Nadja and the man at the bar, Nadja is initially wearing a scarf over her hair. At one point the camera cuts to the man's face and we see the back of Nadja's head, but now suddenly and inexplicably, the scarf has disappeared and remains absent for the rest of the scene. See more »
Life is full of pain. But I am not afraid. The pain I feel is the pain of fleeting joy.
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"Nadja" falls into a category of films I would describe as 'vampire movies for adults.' Viewers seeking an action-packed gorefest along the lines of "From Dusk Till Dawn" (1996) or "Blade II" (2002) should bypass "Nadja". Moody, opiated, and dreamily ethereal, it is similar in this respect to Guy Maddin's more recent "Dracula: Pages from a Virgin's Diary" (2002) and not most other modern vampire flicks. Its emphasis on the emotional and evocative rather than physical aspects of the genre puts it in the company of Tony Scott's "The Hunger" (1983) and Po-Chih Leong's "Immortality" (aka "The Wisdom of Crocodiles") (1998). Shot on black-and-white film, a dying art form, with a good musical score by Portishead, it avoids sinking into pretentiousness with occasional, self-parodying irony (example: "He says he's dying ... for a cigarette."). A major drawback to the film is director Michael Almereyda's overuse of the Pixelvision camera, a technology he has used in the past and should have left there. The acting is spotty, but that's of little importance in a film emphasizing atmosphere over character portrayal. Elina Lowensohn in the title role and Peter Fonda as Dr. Van Helsing (played as he has never been played before) do stand out from the rest of the cast. I'd rate this as 'must see' for aficionados of vampire films, if only to take a break from the less imaginative schlock that overwhelms the genre. Rating: 7/10.
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