I have never really been able to figure out why some of my favourite giallo horror films are set in Germany; but a neon lit Berlin, crawling with punks also happens to be the setting for this one. Palatial underground stations, rickety trains, large, square, glass fronted buildings all flit past on the screen culminating in a grandiose cinema palace called Metropole. There's a film within the film, and both share some equally vile and ludicrous plotting. The cinema itself…
A boy swaddled in fish nets, asks a dark haired vampire for a kiss, before returning to his mother. This seemingly idiosyncratic combination of the tender, the grotesque, the dream-like, and the erotic, is so unique to Jean Rollin's films, and it is what makes them so endlessly absorbing.
The whole film exudes an eerie nocturnal allure, flitting between cold seaside ruins, and the Parisian night. Frederic, a young man, has a Proustian moment of sudden recollection, triggered by an…