SteinMo What a freaking movie. So many twists and turns. Absolutely intense from start to finish.

Bessie Smyth Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

Mehdi Hoffman There's a more than satisfactory amount of boom-boom in the movie's trim running time.

Nicole I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

jadavix The second Jean Rollin movie is a lot better than the first one, "Rape of the Vampire". It also has a misleading title: just as there was no rape that I could see in that movie, in this one I am not sure if there is even any vampires, and nor does the one the title presumably refers to ever get naked, though she does spend the whole movie in a see- through orange gown.There is also more story this time, more unsettling images, and more eroticism. These things add up to a better movie in my opinion.This one is something about a rich man who believes he has found a vampire and is trying to learn the secret of her condition. There is also a suicide cult who are apparently after the woman as well, though no great attempt seems to be ongoing to prevent them from getting their hands on her, nor do they seem that keen anyway.Even the "suicide cult" part of that is questionable. When we see a young woman supposedly commit suicide with the group, she does so with the most unconvincing gun shot I have ever seen. There is a sound effect, yes, but no attempt to make it seem that the gun has actually fired besides that. She doesn't even aim it at her head particularly well: the gun is angled upwards so that if it did fire, it would probably miss her brain.Aside from that, the movie benefits from its visual style more than anything. There are some beautiful babes in this one, particularly a black lady and two pig tailed sisters (whose hairstyles keep changing). The bits at the beginning with the girl wandering around and the guys in horse masks creeping up on her were generally scary and could have been great in a better movie. The ending is disappointing. We find out that no one in the movie is a vampire, but rather they're all mutants, and one day humanity will be immortal? What?Is that supposed to be scary?

chaos-rampant Rollin in his usual mode impresses with place, color, dreamlike reverie. His women are unappealingly scrawny and bland, but his teasing of the cinematic imagination works for me enough to want to step in his ether - his films feel much less constructed than what passes as sensual these days, the night air and architectural walls of the thing always feel real, the texture real. The film opens with a distraught 'virgin' being followed in dark streets by mysterious masked figures, everything in the film that is of that same somnambulist quality carries resonance and I would not dissuade you from watching. It really is fine in ways that you will seldom see in a horror film and that Kubrick bombastically killed in Eyes Wide Shut (it breathes here).But damn it all to hell, if he isn't utterly inept as a storyteller and ruins every pleasure of touch. I don't mean that he wants to confound logic, I like that he does. I welcome filmmakers of the sort - Lynch, Ruiz, Zulawski, those who tether you to narrative threads you have much less control of than usual then pull and leave you scudding through the shattered story-parts.It's quite the opposite with Rollin. Though the world feels real, the interplay of story dynamics is cartoonish at best. Every initially baffling element has to be explained in due time, and each explanation is dumber than a sack of rocks. He is not illogical in the sense that we cannot fathom more than bits of a deeply inscrutable world, quite simply he jots down a coherent story from a few absurd/fantastical elements then gives it to us in conveniently random ways.In this case, the movie about vampires is a horror show being put on, the vampires are only vampires because we believe they are. This is repeatedly stressed out for us.The point of all this is apparently the celebration of the rigor and 'purity' of youth, remember those where the Vietnam years, who in Rollin's garbled set of metaphors are equated with a mutant race of immortals.Rollin's problem is that he is not content to be a perfume master who seduces the senses, he wants to be a bit like the meditating mentor in this film, someone who promises initiation into the 'hidden dimension' of truths so he ends up being as silly.

Woodyanders Wealthy and decadent industrialist Georges Radamante (a nicely icy portrayal by Maurice Lemaitre) rules over a strange secret suicide cult and wants to acquire immortality by figuring out the biochemistry of a mute orphaned vampire woman (lovely and entrancing brunette Caroline Cartier). Complications ensue when Radamante's son Pierre (a likable performance by Oliver Rollin) finds out what's going on and falls for the comely lass. Director Jean Rollin, who also co-wrote the compellingly quirky script with S.H. Mosti, concocts an ingeniously weird, stylish, and poetic blend of horror and sci-fi elements that unfolds at a deliberate pace, positively drips with a hypnotically brooding and enigmatic atmosphere, and delivers several sizzling moments of inspired eroticism and kinky fetishism for good measure. In fact, the genuinely peculiar and mysterious, yet fascinating experimental vibe that pervades throughout certainly gives this picture its own singular identity. Rollin regulars and real-life twin siblings Catherine and Marie-Pierre Castel are sexy and captivating as Radamante's servant girls while Ursule Pauly is effectively nasty as the treacherous Solange. Jean-Jacque Renon's striking cinematography makes bold use of vibrant color and offers a few stunning surreal images. Yvon Serault's moody and atonal jazzy score does the wonky droning trick. Worth a watch for Rollin fans.

MARIO GAUCI The eighth Jean Rollin film I have watched is also possibly the weirdest; the intriguing plot (such as it is) seems initially to be too flimsy to sustain even its trim 84 minutes but it somehow contrives to get inordinately muddled as it goes along! A would-be female vampire (scantily-clad, as promised by the title) is held in captivity inside a remote château and emerges only to 'feast' on the blood of willing victims (who are apparently members of a suicide club) As if unsure where all of this would lead him, the writer-director ultimately has the human villain – actually the blank-faced hero's kinky father – ludicrously revealed as a mutant(?!) from the future! The languorous pace and dream-like atmosphere (the cultists wear hoods and animal masks to hide their features from the sheltered girl) are, of course, typical of both the film-maker (ditto the seashore setting at the {anti}climax) and the "Euro-Cult" style, as are the bevy of nubile beauties on display. Personally, the most enjoyable thing about the whole visually attractive but intellectually vacuous affair was watching familiar character actor Bernard Musson (who appeared in six latter-day Luis Bunuel films) crop up bemusedly through it from time to time!