The Countess (2009) Poster

(2009)

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8/10
I saw it like this....
rnl-otto7 April 2010
Warning: Spoilers
I did not regard "The countess" as a historical or a horror movie. I rather saw it as a portrait of a woman. I think the movie wants to show the very destructive effect falling in love can have when a person is very insecure and does not have the ability to reflect its own behavior. In some way that connects to "2 days in Paris" which also dealt with the difficulties of love. The movie also had a feminist side to me: on the one hand it deals with the obsession of beauty (a kind of female issue, also an issue that matters especially to actresses). The countess crosses ethic limits to gain or keep beauty and youth - maybe an analogy to plastic surgery. The murderers committed by the countess are also compared to war: is it better to kill for power than for beauty? A political view is that the countess is not mainly sued because she has committed crimes but because her power is so huge that many people are happy to get rid of her (which is how politic still sometimes works nowadays). Regarding these facets the countess is a parable to human behavior today. It does not want to be a historical movie. I still can see that especially Hungarians are annoyed when they see (and hear)non-Hungarian actors in this movie speaking English (even though the actors are not English) and saying Hungarian names in a non-Hungarian way. As i said before it is not a historical movie and the setting should just be regarded as a frame. I also remember reading an interview with Julie Delpy quite some years ago where she complains about not getting any roles in the US because her accent is "too french". I think mixing actors from different countries she wants to show (or find out) that (or if) a movie can work even though there is an international cast. Regarding the countess as a parable i think that can work. But as my boyfriend does not like watching movies in English we watched the dubbed German version and i really don't know if the accents would have bothered me... Anyways i can see the movie does not really fit a genre so i understand people have troubles with it. I prefer not to think in genres and categories too much - if you do so too I think you will be able to enjoy this movie.
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8/10
Rashomon in Transylvania
jshoaf9 July 2011
Well, actually, in the Little Carpathians, apparently, which are not part of Transylvania, or so Wikipedia tells me.

I really enjoyed this film (at home on pay-per-view)though I think it is intended for a pretty narrow audience. As others have noted, the dialogue is amazingly stilted (very literary, rather like a French novel of the 17th or 18th century) and delivered in near-monotone. I kept feeling that the whole movie had been dubbed into English. On the other hand, I found the acting very fine, and I admired the insistence on presenting these characters as not at all like you, me, or the folks in the latest TV drama. The Countess in particular is a strange, unique portrait--her piety, her desire for amorous adventure, her pride, her intelligence. And that's before you get to the blood-of-virgins part.

The film proposes that what we are seeing before our eyes is not the truth about the Countess. We are watching a fantasy of a noblewoman enacting a tale "told by the victors"--by the men who were enriched by her downfall and relieved, too, to be rid of the very possibility of an intelligent woman. The tale is told, too, by the peasants and others whose sons are fighting in her army. Yet the man who questions the gory story is her lover, and he too may be deceived. There is no simple answer to the question, what really happened?--no resolution.

In short, it's an intellectual (and visual) treat, but it won't affect your blood sugar.
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5/10
All dressed up with no place to go
Radu_A12 November 2009
Warning: Spoilers
If one could rate a film owing entirely to the versatility of its creator, The Countess would be 10 out of 10. Julie Delpy didn't just helm her most ambitious project to date, she gives a carefully reserved, effective performance, she composed a befitting score, she had an active part in costume design, and her script gives the right angles at the right places. Why then does the final result impress so little, unlike her wonderful debut "2 Days in Paris"?

Reason One: Insufficient voice coaching. You may think that's a minor detail - wait until you've watched this film in its original English. With the four main characters coming from four different countries, one would assume that their English accents would be balanced by someone - nope. The dialogue sounds awkward and sort of trashy. Julie Delpy's own cute French-American sounds odd in this somber tale; Daniel Brühl's German-American accent is so ridiculous that one expects him to pronounce 'I vont tu sukk ur bluhd' any second. William Hurt, being the seasoned pro that he is, smoothed his own accent to fit into his morose, cunning character, making him sound more European than the Europeans. Anamaria Marinca obviously had some serious vocal training, which elevates her performance, whereas Delpy and Brühl's romance scenes give off a feeling of unbalance and weirdness.

Reason Two: Daniel Brühl. Well, this is a French-German co-production, so I guess that, as the unwritten rules of Eurofilm prescribe, there has to be a German lead. And Brühl could be considered a star. Yet he does not have the stamina to carry such a part; he mostly acts as a bystander. He's not even pretty, as he looks quite sick. And according to an interview I've read, Delpy isn't totally innocent of Brühl's look, since she mentioned that she didn't want him to shape up.

Reason Three: German production values. The main production company involved in this project is Tom Tykwer's X-Filme, so this movie feels very German. If you've watched The Perfume, you know what that means for dramas like this one: a certain stiffness in tackling emotional content and rather Spartan set design. The Iron Maiden, which the Countess uses to bleed her virgin victims dry, is about the only visually interesting detail. The continuity is muffled, too; for instance, the escape scene of a little girl, one of the rare moments of suspense, is almost instantly killed off, quite literally, not allowing for goosebumps to build.

It's OK that Julie Delpy makes a clear departure from the romantic fluffy stuff of her past. It's impressive how versatile she's become as a film maker. But given her talent for intelligent comedy, I wonder if a less serious subject wouldn't have benefited her versatility more. This not-really period piece and not-really horror flick will satisfy nobody and keep audiences wonder how much more it could have been with another approach.
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5/10
Ambling on ...
sinncross3 August 2009
Warning: Spoilers
In the 17th Century, the Hungarian Countess Elizabeth Bathory (Julie Delpy) and her husband, General Ferenc Nadasdy (Jack Berglund), are regarded as one of the most powerful couples in Hungary. Soon after Nadasdy's death, Elizabeth begins a passionate relationship with Istvan Thurzo (Daniel Bruhl), who is nearly 20 years her junior. When Istvan leaves her, she believes it is because of her age. This ultimately leads to her believing that the blood of virgin girls can help her remain youthful, and Elizabeth starts a mysterious killing spree to satisfy her vanity.

The issue surrounding Elizabeth Bathory makes for an interesting narrative in the cinematic format. The story is told in a rather linear fashion, beginning with Elizabeth as a child and how politics deemed who she should marry in her older age. Politics is perhaps the best dealt with theme in the film: while not shown in a refreshing manner, politics still has an overriding importance into understanding how arranged marriages were so important for families in regards to gaining new ties and allies and, more importantly, how these marriages ultimately develop characters in order to enrich the story. Yet it is disappointing that nothing helps strengthen the plot: the life of Elizabeth Bathory is open to much speculation with there being a debate as to whether she really is the 'Blood Countess' or whether she was trapped in a political conspiracy. But none of this is even questioned until the very end of the story, but by then it is so incredibly obvious that the filmmakers have wanted to portray Elizabeth as a cold-hearted murderer, that the alternate paradigm briefly introduced serves little purpose. Another problem with the narrative is how the film's underlying philosophy, as emphasized by a voice over from Istvan at the very start of the film, is in conflict with the film's main story. Istvan believes that the true story of Elizabeth was never revealed but as shown from the films intention, it clearly is.

There is a reasonably strong cast in the film but it never shows. Both Delpy and Bruhl lack emotion and their portrayed relationship is not any better. In Delpy's defence it can be argued that her character lacked any real emotion but nevertheless, there is nothing really compelling about the performance. William Hurt features at points throughout the film but he rarely makes much of an impact. The best of the lot is Annamaria Marcina who feels more believable then her co-stars, and does a good job as a supporting actress.

Julie Delpy does shine in her role as director with the film being, for the most part, eloquently shot. There are some interesting scenes of symbolism with the heightened ominous atmosphere of the film starting off early and is carried along until the end. Considering the subject matter, the film is neither as gory or bloody as you would expect, but the acts of cruelness still have a haunting presence to them, and Delpy must be congratulated for this. Likewise the musical score appears to compliment the film though is forgettable by the end, and the costume design has a real sense of reality to them though they lack extravagance as shown in other similar period films.

Sex is implied with upper female nudity appearing at times in the first half of the narrative. Language is almost unheard of but violence is shown in various manners: there is some decapitation, and piercing of skin from sharp items. None of the violence is lingered upon but their buildup has a threatening quality to them; blood does appear throughout.

The Countess is a surprisingly average film with a good sense of technical techniques being weighed down by some weak showcases of acting and a confused directional narrative. The beginning attempts to setup the film as a mystery thriller, something to get audiences debating the accuracy of events, but ultimately the film is so conclusive with what it wants audiences to believe that the film gets muddled up in its own creative process. It is an interesting movie with an exciting subject at its helm, but it is nonetheless a flawed film that just never gets going.

-(Durban International Film Festival 2009)
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8/10
not a usual historic tale....
streep8213 February 2010
this is very well made, true to the history, geography and atmosphere of the place where the story takes place. also very well played, esp by Julie Delpy who already is known for her convincing but modest acting. Costumes and art decoration were superior. The story was told well too, considering it's telling a rather controversial story and that the main character is an anti-hero.Still it's very successful in reflecting the controversies in history telling and discussions about historians, heroes and storytellers by saying they're the real devil. Watch it definitely and compare it to other historic movies, you'll sense the difference...
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8/10
The Blood Countess and the Beginnings of the Feminist Movement
gradyharp16 June 2011
Writer/director/producer/musical scorer/actress Julie Delpy brings to the screen a character from history that few know. The film is based on the true history of the woman known as The Blood Countess, but after viewing this film it is obvious that the actual figure on whom the story is based was a brilliant political mind, a woman of noble breeding who could read and write in four languages, who once widowed was able to successfully defend her lands from the warring Turks and exact control over the reigning Hungarian King Matthias. But back to the history of the character as written by Delpy. 'Countess Elizabeth Báthory de Ecsed (Báthory Erzsébet in Hungarian) (1560 - 1614) was a countess from the renowned Báthory family of Hungarian nobility. She is considered the most prolific female serial killer in history and possibly the most prolific of any gender. She and four collaborators were accused of torturing and killing hundreds of girls, with one witness attributing to them over 650 victims, though the number for which they were convicted was 80. Erzsébet herself was neither tried nor convicted. In 1610, however, she was imprisoned in the Csejte Castle, where she remained bricked in a set of rooms until her death four years later. Later writings about the case have led to legendary accounts of the Countess bathing in the blood of virgins in order to retain her youth.'

The film opens with voice over by István Thurzó (Daniel Brühl) who relates the story of his only love. We are privy to the strange behaviors of the young Erzsébet who had a sadistic streak and was at birth promised to be the bride of Ferenc Nádasdy (Charly Hübner). She became a beautiful woman and Erzsébet (Julie Delpy) married General Nádasdy, gave birth to children, and together they were the power couple of Hungary. When Nádasdy dies, Erzsébet meets and falls passionately in love with István Thurzó (Daniel Brühl), a many 19 years her junior, but Istvan's father György Thurzó (William Hurt) prevents Istvan from remaining with Erzsébet. Left alone Erzsébet remains a powerful warrior, dallies with the sadomasochistic Dominic Vizakna (Sebastian Blomberg), but fears her young lover will forget her if she ages. She discovers that the blood from virgins will restore her youth and thus begins the serial killings to support her vanity. As questions of debts owed to her by the King there is an investigation of her personal history led by György Thurzó and without proper trial she is condemned to house arrest in darkened sealed rooms in her own Csejte Castle where her fate is sealed.

The film is beautifully designed, costumed, photographed and scored, and Delpy manages to pace her story credibly and well. For this viewer there is an absence of gritty passion that would make the history more indelible: Delpy and the remainder of the cast fail to create fiery on-screen chemistry that would have brought a sense of stronger impetus to the heinous acts that occur. But as a piece of rarely known history it is a fascinating film about a strong woman of the past and the impact she had on her country ... and on legends!

Grady Harp
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4/10
A Disappointment
LeaBlacks_Balls21 February 2010
I really wanted to like this. Based on the true story of 17th century Countess Bathory, who grew obsessed with retaining her youth, and decided the best way to do this was by bathing in the blood of virgins. What could have been a disturbing descent into madness turns out to be a dull by the numbers bio-pic/period piece.

Julie Delpy does an alright job in the titular role, but the departure from her usual romantic roles doesn't really work, as Delpy just seems like she's on auto-pilot throughout most of the film. The script, written by Delpy, treats the Countess as some sort of feminist pioneer, and at other times, shows her to be a monster. The movie wants to have it both ways, but in the end it it just seems really confused and tiresome.
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Sympathy for the Devil Countess
johnnytbananas10 November 2011
This movie rocks because it manages to be both a lavish, complex period movie and a psychological horror movie at the same time. Julie Delpy does a fantastic job in the role of a complex woman from a brutal period in European history, and her performance somehow gracefully manages to be both sympathetic and monstrous. Bathory is one of history's most prolific and sadistic mass murderers, but historians are ultimately unsure of who she really was, and to what extent she was responsible for the atrocities for which she is credited. Most agree that the whole "beauty treatment bloodbath" thing is a myth made up by later generations to spice up the story, so I was surprised that a telling supposedly rooted in fact ended up going that route, but I loved the idea of a Bathory who is a real person and not just a 2-dimensional fiend. Great sets, costumes, and performances from a well-written script make The Countess an engaging and informative portrait of a woman whose vanity and blood lust have become the stuff of legend.
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6/10
Time waits for no one
dbdumonteil4 May 2011
Julie Delpy gives her own vision (through an innocent young man's eyes who would have been one of her numerous -male and female-lovers)of a nefarious figure of history .her direction is icily impersonal but effective .Her hieratic cold look gives the jitters for her acting is restrained.Unlike Walerian Borowczyk's segment of "Les Heroines Du Mal"(1979) in which Paloma Picasso played an "erotic " countess with nudity galore,"the countess" has few bed scenes and few gore clichés -and with THAT subject,it is much to Delpy's credit.Her directing is not feminine at all (as Agnès Varda's or Jane Campion's are) and her character has the mind of a man :political power,women and men treated -with one exception- as sexual objects .She wouldn't sacrifice a virgin lad cause ,she says , God created man in his own image .She remained pious even in living in the most awful sin!

The atmosphere which is depicted does not square with reality,if you read one of her biographies:she lived in a lugubrious castle ,in a cold area,and she suffered from chronic migraines which almost never gave her any respite.
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5/10
A piece of art, but not true to Hungary
lindabene11 November 2009
Very interesting plot. I love historical movies. I was really excited when I found out, that there is a movie about a Hungarian countess. As I am Hungarian i was really looking forward to watching it.Bit disappointing. At least if you make a movie try and be true to the country you are showing. Pronunciation of the names if terrible. The characters were not even similar to Hungarians. So basically if I didn't know she was Hungarian, I wouldn't even have recognised the place or country it related to. Apart from that, the story is unusual, the movie is an art. But if you watch it, do not think this is the real 17th century in Hungary:).
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4/10
Slow and fairly uneventful...
paul_haakonsen23 December 2015
I must admit that I had expected a bit more from this movie, especially given the story that it was portraying and telling. I just had expected something grander than what director Julie Delphy dished out here.

Everyone should be fairly familiar with the bloody story of Countess Bathory, well at least if you have just an ounce of interesting in World history. So I am not going to delve into details about the storyline.

What worked for this movie was the acting. Julie Delphy, who both directed and starred in the movie, did a great job in her portrayal of the Countess Erzebet Bathory. There was something very raw and emotional about her acting in "The Countess" and she really carried the movie all by herself.

Julie Delphy seems rather talented, doing acting, directing, producing and even writing the music for this 2009 movie.

But the movie was just too slow paced for my liking, but it was an interesting portrayal of the infamous Countess Erzebet Bathory.
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8/10
diving into love and darkness
Lost_in_La_Mancha29 November 2009
from an anglo-centric and a male-centric point of view, this movie sucks, of course...

from any other point of view, The Countess is a very well orchestrated piece of story-telling.

a dark portrait of a dark age. a tale of love and madness. but did our emotions evolved so much as our techniques?

as it starts: "history is the tale told by the victors. who are the victors? barbaric warriors, mad kings and greedy traitors. mainly most of our history is made of fables fabricated by those glorious victors."

as till today, history is male's victory... here you got a female's tale... see for yourself. i can only tell: i dove into it
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3/10
the countess of distaste
riskl16 October 2009
Warning: Spoilers
What a disappointment. This film shows no innovative approach : narrative voice-over in a very dull way. No taste : some unnecessary shocking scenes (the girl bitten in two ? come on!). No great scenery : this could have added some dramatic effect. No balance, too much focused on Julie Delpy. No respect for the skills of great actors like Brühl and Marinca. They get predictable, rather stupid dialogs, and I think they felt this too. I didn't buy their 'emotions' for a second. The character of the 'witch' deserves more attention. This film was shown on the film festival of Ghent : well, it didn't deserve its place there.
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1/10
Awful....
I normally quite enjoy period pieces. However, I'm unsure exactly where to begin with this film. The costumes and set decorations were lovely. That was the *only* thing I liked about this film. Julie Delpy's voice was often dubbed over and created quite a bit of confusion. The accents did not accurately reflect the region, and the manner of speaking did not accurately reflect the time period. I found all of these aspects to be very distracting. The acting between herself and her "lover" was cold, wooden and completely unbelievable. The acting itself is strictly 3rd rate, at best. The pace of the movie is very mechanical. I'm not sure if it's the acting itself or the storyline that makes it close to impossible to connect with or empathize with any character involved. Her lover's feeble declarations in and out of bed had me reaching for the fast-forward remote each and every time. Monotonous, tedious, poorly scripted and badly acted. I say skip the Countess and save your money.
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1/10
Poor
nicholaustin-9398216 October 2018
Poor dialog that sounded as though it were written by a child. They want their cake and to eat it, this movie will satisfy neither historians nor Gore fanatics because it delivers neither history nor Gore, just the usual romance and some inappropriate feminism
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4/10
A Grand Failure
samkan7 January 2012
Warning: Spoilers
One admires Delpy for writing and directing and, given the fascinating historical material, it'd appear hard not to come out with something good. Alas, THE COUNTESS misses badly on every and all levels. Its a poor love story, historical account, morality tale, feminist doctrine, suspense work or anything else it might be. There are cringe-worthy embarrassing moments; e.g., when the Countess gets her first "taste" of blood, when her staff simply roll their eyes and abet the murder of young women, when the Countess' young love succumbs to bedding his monstrous arrest-warrant subject and -truly hard to sit through- when our heroine "redeems" herself of sadistic murders via a soul-searching and indicting soliloquy. I get the idea that the favorable COMMENTS here in IMDb are mostly females too attached to their gender identity to see the forest for the trees. It's no accident that this film found no concern willing to release it. PS: Hurt is a redeeming virtue and Delpy still manages to show she's a top rate actress. Bruhl was awful casting and both looks and acts like a "gee whiz" high school kid better seen on TV.
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9/10
Excellent movie
Kiditout15 December 2010
The legend of the Red Countess, like that of Dracula and so many others has yielded several theatrical and film adaptations. The challenge is to make something new with this ancient legend, and to try to be equal to the great directors who brilliantly tackled the subject. Julie Delpy likes challenges of this kind. Not only did she write the script, direct, act, and compose the music, but her adaptation can compete with what I thought was the best previous film adaptation of the legend by Walerian Borowczyk (from the collection called Immoral Tales, and with Paloma Picasso). Delpy acknowledges her debt to this director through a number of details that those familiar with Borowczyk's works can recognize. Another great reference is Coppola's Dracula, of which Delpy borrowed the lyrical and tragic tones. Of course,this can only situate Delpy's aesthetic choices, and much of her originality rests in her interpretation of the legend. Here, she blends her own speculations about the Countess's character and motivation with historical facts, to make a new and provocative statement about the legend. The best way to see this film is to compare it with the other adaptations not as much to see who spent the money the most intelligently, but what each director has to say through the same legend.
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5/10
Didn't meet my expectations.
berrin-cinarbas4 January 2012
As much as I wanted to like this film, I was left feeling unsatisfied after watching it.

It felt as if the writers were unsure of what direction they were taking, most of the time. It wasn't a horror, a psychological thriller, or an accurate historical flick... though it did have elements of all the aforementioned.

I was also disappointed to find that (since it's such a dark movie) there was virtually no suspense or build-up. I caught myself growing bored at many points throughout the film, which is really surprising given the subject material. It doesn't help that the acting seems forced most of the time (as if the actors are reading their lines off of cue cards), or that Delpy and Bruhl have about 0 chemistry...

I did, however, love the costumes and the sets, as well as Anamaria Marinca's unique character.

All in all, I was just hoping for a bit more. A bit more horror, a bit more suspense, a bit more passion. This movie left little to no impression on me... and I was sorely disappointed.
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True Story? Not at all.
rchalloner5 May 2010
I haven't seen the film yet, I was thinking of seeing it this week, but given some of the things I've read in the reviews, I may not bother. The story recounted in the film is NOT a true story at all. Countess Elizabeth Bathory existed and she was indeed charged with a number of supposed murders, but the charges were never properly proved. In fact no evidence was properly presented - her 'trial' was a politically motivated set-up. She was an extremely rich and powerful woman living at a time when in most societies, but especially Eastern European ones, wealthy and powerful women were hugely resented by their male counterparts.

Once she was widowed Countess Bathory chose not to remarry as she did not want another man to take control of her lands. She wanted to rule her estates herself - and she was a very capable ruler. Unfortunately powerful men in Hungary (and the Austro-Hungarian Empire) were greedy for her lands. They could not dispossess her legally, so they hatched a plot to have her charged with terrible crimes. Her servants were tortured and forced to accuse her, however, no credible evidence was ever presented. It was enough however, for her lands to be confiscated.

As for punishment, she was NOT bricked up in a room and fed through a hole in the wall. That is fantasy. She was confined to a few rooms in one of her castles, a kind of house arrest. Sadly films like this perpetuate the myth and falsehoods about a woman who, although tough and sometimes hard on her servants, was never guilty of the horrendous crimes of which she has been accused. I am so sick and tired of seeing history re-written and fabricated that I probably won't go and see it now - and I would warn anyone who thinks they are going to see something 'historical' that it just isn't.
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2/10
Worst thing ever? i think so
julianpeters-115 February 2009
i've seen this movie on the berlinale in berlin. as for the reputation of that festival i kinda expected a rather boring, but well made movie. the latter turned out to be the problem. with this cast you expect the movie to be well acted: it wasn't. daniel brühl in his worst role ever. i generally like him, but his romance was so... lousy. i didn't believe it for a second. then... the camera, the cut, the script, the... it was just not well made. in the defence of the makers: they chose an interesting story, but then hasted trough it. the point, which the movie was driving too, is actually pretty poor. or maybe neither me nor any of my friends did get it, which would render it futile. granted, im not the guy usually sitting in this kinda movies. but i can only advise u: stay clear!
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new perspective
Kirpianuscus22 September 2015
its basic virtue is to present a different perspective about a well known story. not the most inspired but credible. and courageous because it gives an inspired fresco of a period. conflicts and fears. need of success. a fragile love story. and revenge. the portrait of Countess Bathory is not only different but good exercise of details'exploration. because it is a story from East. but, in same measure, it reminds the status of a woman in an Europe looking its useful transformation's tools. a film about force and vulnerability. seductive for the meeting between Julie Delppy with a role who becomes fascinating puzzle. and a not surprising performance, in a small role but wise explored, by Anamaria Marinca.a film who impress for its new perspective about a classic character.and that could be good support for reflection.
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3/10
Sounds dubbed but isn't.
alyssa_starelli6 October 2020
The acting style and the fake accents are so stilted I had to double check it wasn't dubbed. I'm not sure how this movie got a 6. It's a 3.
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1/10
So Terrible!
CelestialCatnip3 October 2014
It's amazing that a film with such an intriguing story, breathtaking sets, and gorgeous costumes can be so god-awful! With the singular exception of William Hurt, the acting is just bad. Julie Delpy delivers her lines with the enthusiasm of a child forced into doing the school play. I've seen more convincing acting in porno movies. The actress portraying her witch lesbian lover is even more dismal, if that's even possible. I was hoping to be drawn into a thrilling telling of the "true" story of the Countess Bathory, but instead wasted over an hour and a half of my life that I will never get back. Avoid this movie like the plague!
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9/10
A Human Monster
GomezAddams66620 November 2016
Warning: Spoilers
This film directed and starred by Julie Delpy gives a very human portrayal of one of history's most infamous murderers, Countess Erzebet Bathory, who is said to have bathed in the blood of virgins to preserve her youth.

She is said to have killed hundreds of young women and drained their blood, such a horrendous and yet fascinating real life character is bound to inspire countless myths, stories, books, even movies.

But the real task is to portray such a monster as a human being, she wasn't a supernatural monster but a real woman, and the tales of horror might or might not be completely accurate, but regardless of that the film manages to balance the horror of the myths and the portrayal of a human being, heartless and maybe psychotic, but still human.

With great performances by Julie Delpy (The Three Musketeers), William Hurt (Mr. Brooks) and Daniel Brühl (Captain America: Civil War), a great script, and beautiful photography, this movie is a must for cinema fans.
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4/10
Didn't meet my expectations.
meydiana-6524226 February 2021
Warning: Spoilers
As much as I wanted to like this film, I was left feeling unsatisfied after watching it.

It felt as if the writers were unsure of what direction they were taking, most of the time. It wasn't a horror, a psychological thriller, or an accurate historical flick... though it did have elements of all the aforementioned.

I was also disappointed to find that (since it's such a dark movie) there was virtually no suspense or build-up. I caught myself growing bored at many points throughout the film, which is really surprising given the subject material. It doesn't help that the acting seems forced most of the time (as if the actors are reading their lines off of cue cards), or that Delpy and Bruhl have about 0 chemistry...

I did, however, love the costumes and the sets, as well as Anamaria Marinca's unique character.

All in all, I was just hoping for a bit more. A bit more horror, a bit more suspense, a bit more passion. This movie left little to no impression on me... and I was sorely disappointed.
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