Evento

DAUGHTERS OF DARKNESS

Dir. Harry Kümel, 1971.
Belgium. 100 min.

Belgian director Harry Kümels high gothic vampirization of the story of famed murderess Elizabeth Báthory has retained its cult legacy due to its effervescent style and Seyrigs carnal lead performance. The camera glides through lush colors and haute hotel rooms like in a Fassbinder or Sirk melodrama as Seyrigs bloodthirsty queer countess preys on a pair of newlyweds. By contemporizing the vampire into a decadently erotic queer demagogue, Kümel paved the way for Tony Scotts The Hunger more than a decade later.

*****

When Delphine Seyrigs fairy godmother character nonchalantly descends in a helicopter upon the Medieval fairy tale realm of Jacques Demys Donkey Skin, the surreal image is pretty indicative of Seyrigs regrettably short, enormously prolific (she appeared in over sixty films and only lived until age fifty-eight), and trenchantly unforgettable career. Seyrig had an innate ability to transcend every film in which she appeared, regardless of what auteur was directing.

She mostly famously worked with Chantal Akerman, Alain Resnais, and Luis Buñuel, but also Robert Frank, Francois Truffaut, and Harold Pinter. Among the first filmmakers to make use of video in France, Seyrig co-founded a radical, anarchistic collective of feminist filmmakers and directed two feature documentaries (Sois belle et this-toi and Maso et miso vont en bateau) and several shorts, including a wonderfully droll reading of the SCUM Manifesto with filmmaker Carole Rossoupoulos. Digging through Seyrigs filmography is an endlessly rewarding excavation of idiosyncratic gems, from queer vampire thrillers to pioneering camp adaptations of Virginia Woolfs Orlando.