On the run from an asylum for the insane, a feisty young girl and a forlorn female companion embark on a surreal journey with a group of traveling erotic dancers. Wandering from the fantastic to the farcical and back again,
KILLING CAR is one of Jean Rollin's most unusual films and is a real departure from the vampire theme for which he is best known, though it still maintains Rollin's signature mix of mysterious femmes fatales and female flesh.
A Van Helsing-like professor and his protegé are tracking Dracula's descendants through the world of "parallels", creatures who are human in form but live quite distinct psychic lives. A ... See full summary »
This erotic horror film, set in 1905, tells the story of a thief who seeks refuge in a castle owned by two women, Eva (Brigitte Lahaie) and Elizabeth (Franca Mai). The women are seductive ... See full summary »
A girl arrives from London to visit her estranged relatives in a remote castle for the reading of her father's will. After a while she discovers that they are all in fact dead and her ... See full summary »
Frederick sees a photograph of a ruined seaside castle, which triggers a strange childhood memory. He then goes on a strange quest, aided by four female vampires, to find the castle and the beautiful woman who lives there.
I really enjoy the beginning of the film, the deserted town and railway station sequences, but when the couple actually enter the cemetery, the film gets tedious. The main heroes do nothing but merely wonder around the tombstones, uttering nonsensical lines from time to time. There's nothing for them to do there, It is obvious that the whole film was made out of Rollin's love for cemetery, which is very beautiful in its decay and desolation.. Multiple shots of crosses and tombstones, and strange heroes who don't even seem to understand each other. The conversations they have lead nowhere and end abruptly. Rollin populates the cemetery with his favourite heroes: a vampire is seen entering the crypt, and a creepy clown bringing some flowers to one of the graves. The acting is rather questionable, also because the script doesn't provide the leads who actually seem to be quite capable actors, with any material to work with. Therefore their behaviour in the film seems really weird, when they switch from nearly catatonic state to mad fury for no reason and then become mild and gentle within seconds. Rollin never ever tells conventional stories with his films, instead he just films what he wants to see, and then puts it together in editing, as a result his subconscious is on display. There's no such thing as pace in his films, he doesn't try an give his films rhythm and structure via editing, he only uses it to put the scenes together. That's why you can always notice jarring cuts in most of his works. Director's aim usually is not to deliver you some concrete message, but put you in a particular mood. Atmosphere is his ultimate aim, for Rollin admits his films are moving paintings. I was rather disappointed when I first watched the film, but I keep on rewatching it very often, because, despite lacking any dramatic tension, La rose de fer is a very beautiful and atmospheric film.
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