LE VOURDALAK (The Vourdalak) poses as the debut full lenght feature film of newcommer French director Adrien Beau. I was lucky enough to catch this film on the 64th Thessaloniki International Film Festival. From its very first shot LE VOURDALAK feels like a film made between the late 60s and early 70s somewhere between Central and Eastern Europe. It combines the atmosphere of those regions and times perfectly, managing to transcend the viewer in a wondrous place in the woods, constantly evoking the idea that something evil lurks there.
LE VOURDALAK explores the idea/legend of the vampire with a much more traditional, unique approach in comparison with the many vampire movies that we've been used to in the past years. Drawing his essence from Tolstoy's classic gothic novella, "The Family of the Vourdalak", Adrien Beau crafts a unique take on the vampire legend with samples of practical effects, performative acting, experimental montage and ordinary horror musical elements.
In its core, the film offers a daring, enchanting, tragic horror tale that, at times, is caught between the realisation of its classic background tale and the exaggeration of its daring fresh approach. Meaning that, yes, the story is based on a classic legend, in which Beau paints with his own gothic imagination, that strays from its horrific nature and leans more on the dramatic aspect of a tragic story.
LE VOURDALAK explores the idea/legend of the vampire with a much more traditional, unique approach in comparison with the many vampire movies that we've been used to in the past years. Drawing his essence from Tolstoy's classic gothic novella, "The Family of the Vourdalak", Adrien Beau crafts a unique take on the vampire legend with samples of practical effects, performative acting, experimental montage and ordinary horror musical elements.
In its core, the film offers a daring, enchanting, tragic horror tale that, at times, is caught between the realisation of its classic background tale and the exaggeration of its daring fresh approach. Meaning that, yes, the story is based on a classic legend, in which Beau paints with his own gothic imagination, that strays from its horrific nature and leans more on the dramatic aspect of a tragic story.