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Critics Consensus: No consensus yet.
Critic Consensus: No consensus yet.
All Critics (12) | Top Critics (6) | Fresh (9) | Rotten (3)
An alchemical experiment well worth witnessing.
Brings exotic passions of the eighteenth century to furious life.
It is a singular achievement and, perhaps, something of an esoteric masterpiece.
Against a backdrop of candlelit conversation and barnyard carnality, Serra sets in motion contrasting ideas about pleasure and desire, alternating between winding philosophical dialogue and wordless passages of savage beauty.
A fanciful project that's tantalizing on paper but largely DOA on screen.
Serra's vampire is an expressive creature of chaos, a description one could equally apply to the movie itself.
... fails to do more than set up an encounter between two seducers, Casanova and Dracula. The latter comes off worse. Are you surprised?
While other artists seek to find order in chaos, Serra revels in the anarchy, and has crafted a fittingly facetious monument to the cyclical nature of art.
True to its title, Albert Serra's new film approaches death as both narrative endpoint and formal focus, its initial vivacious mischief giving way to a Manichean fable about the waning of the light.
An impeccably realised riff on period piece traditions, the film takes as its subject two literary figures (Casanova and Dracula), then reconsiders and retrofits their personas into a deviously vulgar display of lasciviousness and tragic comeuppance.
Serra's slow-burn romp depicts in enchanting natural light the revolutionary shift from the Enlightenment to irrationalism. Broadly symbolic, the film is also detailed enough that we can see particles of dust move through the air.
Albert Serra's impish impulses are stretched thin as vampirism reigns supreme.
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