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 ...
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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,
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 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 circus dwarf who is in love with one of these creatures leads them to a mansion filled with oddly behaving nuns, The Order of the White Virgins. The nuns are detaining a beautiful woman who is the betrothed of the still-extant Dracula. When she escapes, everyone follows her to Dracula's seaside castle, on the way dealing with a baby-eating ogress and a wolf-woman (Brigitte Lahaie in a cameo), witches and madwomen. The bizarre wedding ritual commences.Written by
This is a wonderful return to form by an idiosyncratic master. Obviously, his physical infirmities have not hindered his vivid imagination and ability to conjure up startlingly iconic visuals. His latter films tend to have a more playful, fairy tale quality than his early masterpieces, which some have interpreted as self-parody. More likely, it's the result of his adapting his own fantasy novelettas, as well as a personal mellowing with the knowledge that his work is now appreciated by a new generation. There certainly are many homages to his past successes here, particularly the grandfather clock acting as a cache for vampires. These elements have been integrated into the new mythology of "parallels", giving the film a bit more cohesiveness than his previous homage to his own work, Two Orphan Vampires. The denouement -- amid the broken wrecks and piers of the French seacoast, naturellement -- contain striking surrealist images that rival those of Robbe-Grillet, Jodorowsky, and Arrabal. Quite a magical experience, whose delicacy is tenuous but rewarding.
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