A gang of pirates rape the two sole survivors of a ship wreck. The violated girls are rescued by the strange inhabitants of a supposedly haunted island, where they are granted supernatural powers to strike revenge against the pirates.
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.
A young man falls in love with a beautiful woman being chased by sinister masked figures at night. He tries to track her down, and learns she's being held captive by his father and colleagues who believe she's a vampire.
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 »
Many Jean Rollins fans didn't like this movie because it didn't have the kinky sex and rampant nudity of his earlier films, but I'm of the opinion that European cult directors like Rollins and Jesus Franco have actually done their best work when they didn't lazily rely on these elements (although with Franco you'd have to go back to late 60's to find evidence of this). Like with most Rollins movies the plot of this one is pretty incidental (something about blind, orphan, twin vampires trapped in a world that doesn't understand them) and the dialogue is downright laughable (if you have a choice watch it in French with English subtitles, or even turn off the English subtitles--it won't matter much). What makes the movie is the music, the atmosphere, and the startling visuals that at times approach the sublime surrealism of Jodorowsky (that's a compliment by the way). The leads are both very good. I was under the impression that this movie was so tame because Rollins had cast children in the lead roles. The actresses instead look to be in their late teens or early twenties (and they do have one brief nude scene). And if you miss the old Rollins standbys, Tina Aumont and Brigitte Lahaie both put in brief but interesting cameos (which is perfect because I never thought Lahaie especially could act her way out of a crisp paper sack). Maybe this isn't as good as many of Rollin's classic 70's films, but it's a lot better than all his recent SOV and hardcore porn efforts.
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