It's easily one of the freshest, sharpest and most enjoyable films of this year.

True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

The movie really just wants to entertain people.

It really made me laugh, but for some moments I was tearing up because I could relate so much.

This is a slow-moving art-house flick in the vein of other French blood-drinking classics such as DAUGHTERS OF DARKNESS. These films are obviously an acquired taste, but I found this to be delightfully creepy in a spooky kind of way. There isn't a plot as such, just a series of weird visual images directed in Jean Rollin's inimitable style. With these type of films the camera always stays static and there always seem to be femme fatales dressed in flowing white robes who somehow move in a magical slow motion.Surprisingly, for a flick of this kind, the acting is actually rather good, especially from the three leads. Lahaie manages to be sinister-looking and beautiful at the same time, which is no mean feat. This is a film which is high on atmosphere, and low on action. There's a lot of sex to spice things up, but the main focus of the film is the hypnotic women and their desire for something. This something is never explained until the ending of the film, making it very suspenseful.The ending isn't straightforward as you might think; instead, there's a clever twist in the tale which comes as totally unexpected. But the film works best when concentrating on some truly unique images - the best being the scene where a black-clad Lahaie goes on a killing spree with a scythe, quickly slaying those who stand in her way. The most disturbing scene would have to be the ending. This is a strange, frightening film which offers up no explanations as to why what we see occurs; it just happens. There is no happy ending, no linear plot to follow and no good or evil. Thus, it's a very interesting and rewarding film.

Oh yes, I have said some bad things about Jean Rollin in the past but with this movie he shows he's also capable of creating an actual good movie! It's successful at what its trying to be- and achieve, unlike some of the other movies, I have seen done by him.What the movie is, is basically some sort of weird sexual fantasy, set in a Victorian like environment and era. Appeartly the movie is supposed to be set at the early 20th century but to me the movie looked like it was taking place in the late 19th century instead. But what do I know, right!And you could say it's an erotic movie but more one that becomes one through its sexual tension and atmosphere, that is constantly in the air, rather than with its actual nudity or sex scenes. As a matter of fact, there really isn't that much nudity and even less sex in this movie.It's actually this constant atmosphere that makes this movie such an intriguing watch. It's a beautiful shot movie, that is slowly being told by French genre expert Jean Rollin. It's actually quite amazing this is an 1979 movie. The movie looks far more modern, technically speaking. It's images and atmosphere keep you interested throughout, even when you have no idea what is going on within its story.It's really a bit of a hard movie to follow with its story, also because it seems that none of the characters are ever saying what they truly mean or want. It's a movie clouded in mystery, which however actually adds well to the overall atmosphere of the movie. It also makes the ending work work out, which came as a bit of a surprising one even.Definitely a watchable movie within its genre.7/10 http://bobafett1138.blogspot.com/

At the turn of the century, doctor's prescribe the drinking of ox blood to put the rose back in the cheeks of anemic ladies. Of course these wealthy women have developed a taste for something more, human blood. Once each year, a coven of elite women gather at a remote castle dwelling, and sacrifice a man to slake their blood thirst. Two women are sent first to find an unwary victim, who here happens to be a well dressed bandit on the run seeking shelter from other bandits. What follows is a series of seductive cat and mouse games between the sexes until the coven arrives at night so a proper ceremony can be made at midnight. Bridgette Lahaie ignites the screen with her seductive feminine charm. With either a knife, scythe, or simply a smile, she is deadly. Rollin's obsessive view of lesbian eroticism is perverse in just the right way, his camera loves everything about women, titillating us with glimpses of flesh seen here and there, all juxtaposed amidst the finest fairy tale like setting one could imagine. His locations are indeed as unique and delightful as the dream like worlds he creates.

This is the seventh Rollin film I've watched, after THE IRON ROSE (1973; still his finest work), THE DEMONIACS (1974; the least among his vintage efforts), LIPS OF BLOOD (1975; another good one), THE GRAPES OF DEATH (1978; not bad), THE LIVING DEAD GIRL (1982; one of his most compelling) and Fiancée' OF Dracula (2002; an unsatisfactory hodgepodge of ideas). This unusual 'lesbian vampires' film – of which the director made quite a few, though the only other such title I'm familiar with is the above-mentioned (and slightly superior) LIPS OF BLOOD – evokes much of the same atmosphere, not only of Rollin's work but of that of Jess Franco as well. In fact, the scenes depicting a scantily-clad Brigitte Lahaie walking the castle grounds (albeit armed with a scythe!) in search of victims brings to mind Lina Romay in the Spaniard's own (rather dismal) FEMALE VAMPIRE (1973)! One of Rollin's traits seems to be that of throwing modern-day characters (in this case a handsome but dumb crook) into essentially Gothic i.e. uncanny surroundings (the annual reunion at the château by a bunch of lovely ladies). The thief believes their mysterious activities to be of a sexual nature and decides to stick around, despite being warned by the two girls who came to the venue beforehand in preparation for the 'ceremony' that the only other male likely to appear is none other than Satan himself! Having the jaded aristocracy of another era indulge in odd rites (such as drinking ox's blood to treat anaemia!) is an intriguing notion – a group of depraved female members, then, decide to take the cure one step further and periodically resort to the intake of human blood (the revelation isn't all that surprising, but nicely handled just the same).An 'unexpected' development results when it's time to do in with the young man (his criminal associates, who were actually pursuing him after he ran away with the stash of gold, had already been swiftly dealt with by Lahaie's scythe). Though the latter had already been sexually involved with him, her companion believes she has fallen in love and, when the leader of the 'vampires' dispatches Lahaie to eliminate the thief, the other girl shoots her instead! Lahaie stumbles outside to the passageway and, with the spilling of the girl's own blood drawing her 'anaemic' cohorts, they feast on her indiscriminately! The thief pleads with his savior to flee the cursed place together – but, on relating to him their back-story, she realizes that the 'call of blood' is too strong for her to ignore… Inevitably, the film has all the trademarks of Rollin's style (and, by extension, the whole "Euro-Cult" vibe): lethargic pace, an effective score and – it goes without saying – plenty of naked women (even if, save for Lahaie's unmistakable looks, most prove interchangeable due to the film's essential dearth of characterization!). All of this ensures a haunting and often beautiful piece of work though, not necessarily, a fulfilling {sic} one; by the way, the DivX copy I acquired (which also regrettably displayed brief instances of pixellation) bafflingly omitted any form of credits either at the start or the conclusion – not even the film's very title is anywhere to be seen