Writer-director Emily Harris’s version of Le Fanu’s vampire novella adds a feminist focus on repression but sparks don’t fly
This revisionist adaptation of Sheridan Le Fanu’s 1871 vampire novella joins Andrea Arnold’s Wuthering Heights and Lady Macbeth in the newish tradition of bonnet-free literary adaptations: modern-feeling period films abandoning coy glances for earthy passions and marriage fantasy fulfilment for a harsher portrait of domestic life for women in the past. Le Fanu’s book was the inspiration for Dracula’s harloty wives in the 70s Hammer films, but with a new-school feminist spin writer-director Emily Harris strips away the vampirism to focus on sexuality and repression. It’s a smart move, but her creepily atmospheric film is let down by some awkward dialogue and a weirdly bloodless lack of intimacy.
Hannah Rae plays Lara, a dreamy teenager living in the countryside in northern England with her...
This revisionist adaptation of Sheridan Le Fanu’s 1871 vampire novella joins Andrea Arnold’s Wuthering Heights and Lady Macbeth in the newish tradition of bonnet-free literary adaptations: modern-feeling period films abandoning coy glances for earthy passions and marriage fantasy fulfilment for a harsher portrait of domestic life for women in the past. Le Fanu’s book was the inspiration for Dracula’s harloty wives in the 70s Hammer films, but with a new-school feminist spin writer-director Emily Harris strips away the vampirism to focus on sexuality and repression. It’s a smart move, but her creepily atmospheric film is let down by some awkward dialogue and a weirdly bloodless lack of intimacy.
Hannah Rae plays Lara, a dreamy teenager living in the countryside in northern England with her...
- 10/15/2020
- by Cath Clarke
- The Guardian - Film News
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