FEMALE VAMPIRES OF 1971: Forbidden Blood & Sapphic Shadows!!

DAUGHTERS OF DARKNESS (1971) d. Harry Kumel (Belgium/France)
VAMPYROS LESBOS (1971) d. Jesus Franco (Spain)
THE VELVET VAMPIRE (1971) d. Stephanie Rothman (USA) 

TWINS OF EVIL (1971) d. John Hough (UK)
LUST FOR A VAMPIRE (1971) d. Jimmy Sangster (UK)
THE SHIVER OF THE VAMPIRES (1971) d. Jean Rollin (France)
THE WEREWOLF VS. THE VAMPIRE WOMAN (1971) d. Leon Klimovsky (Spain)

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1971 was a remarkable year for the female vampire — seductive, dangerous, liberated… and deeply entangled in the contradictions of exploitation cinema. Tonight, we’re exploring a remarkable cycle of films from that year, on both sides of the Atlantic, that transformed these immortal bloodsuckers into figures of erotic power and cultural tension.

THE VAMPIRES OF 1970 (COUNT YORGA, VAMPIRE LOVERS, DARK SHADOWS, DRACULA, NUDE VAMPIRE)

COUNT YORGA, VAMPIRE (1970) d. Bob Kelljan (USA)
HOUSE OF DARK SHADOWS (1970) d. Dan Curtis (USA)
THE VAMPIRE LOVERS (1970) d. Roy Ward Baker (UK)
COUNT DRACULA (1970) d. Jesus Franco (Spain)
THE NUDE VAMPIRE (1970) d. Jean Rollin (France)

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1970 was a landmark for vampire cinema. No longer confined to fog-shrouded castles or Victorian settings, vampires were reimagined through the lenses of filmmakers across the U.S. and Europe, allowing the vampire mythos to explore shifting cultural and political attitudes with more sex, skin, and blood on full display. Tonight we’ll be looking at five significant films released that year, each offering a unique and transgressive spin on the undead.

ORCHESTRATOR OF STORMS (2022) Movie Review

Orchestrator of Storms: The Fantastique World of Jean Rollin (2022) d. Dima Ballin/Kat Ellinger (USA) (112 min)

In the press release, we are presented with the following, “Has there been a genre artist more fundamentally misunderstood and inappropriately discussed than Jean Rollin? He remains one of genre cinema’s most singular poets, a theatrical fantasist, interpreter of dreams, orchestrator of storms. His recurring use of twin or paired protagonists and surrealistic interpretations of vampirism, with tones that were often in the midnight space between gothic literature and fairy tale, his sense of humour and intellectual musings, his sumptuous visual ideas, coming together to make inspired works of genre art that ran against nearly all traditions of the times they were made in.”