Perdues dans New York (1989), Filmografia vampirica, Vampiria



I vampiri di Jean Rollin

Scheda: Nazione: Francia - Produzione: Les Films A.B.C., Mars International Productions, Francam Interservice - Distribuzione: Filmfreak Distributie, Lucertola Media - Soggetto: Jean Rollin - Sceneggiatura: Jean Rollin - Fotografia: Max Monteillet - Montaggio: Janette Kronegger - Musiche: Philippe D'Aram - Effetti speciali: Rn - Formato: Color - Durata: 52' (67').

Cast: Adeline Abitbol, Funny Abitbol, Catherine Herengt, Catherine Lesret, Sophie Maret, Marie-Laurence, Mélissa, Nathalie Perrey, Catherine Rival.

Trama e commenti: thrauma.it - filmscoop.it - ilcancello.com: «Si tratta della fantastica storia di due bambine che viaggiano (con l'immaginazione?) nel tempo e nello spazio... e a un certo punto si ritrovano adulte a New York... Come al solito più che la storia contano le invenzioni visive fantastiche e surreali... Non è propriamente un horror (anche se ha una scena di vampirismo), ma sicuramente è uno dei film migliori e più personali di Rollin».

Plot Summary, Synopsis, Review: IMDb - allmovie.com - vampyres-online.com - terrorfantastico.com - esotikafilm.com - es.filmamora.com - play.com - abandomoviez.net - anotherworldent.com - vampires.nu - ovguide.com - dvdoutsider.co.uk: «If you don't know the work of French director Jean Rollin then one thing's for sure – you're not a vampire movie fan, or at least not a hardcore one. Rollin began making films in 1958, but ten years later created what is credited as the first French vampire film Le Viol du vampire (aka Queen of the Vampires, aka The Rape of the Vampire), and despite the film's initially shaky reception, Rollin has never looked back. At a time when Hammer's once-popular output was fading, Rollin was creating stylish, poetic fantasy films that were as influenced by expressionism and the avant garde as they were by classic Hollywood horrors. Rollin's vampire films in particular embraced the genre's underlying eroticism, and though he worked cheap and fast, his evocative use of locations and music, the poetry of his stories and characters and his sometimes dream-like imagery put his best films in a class that most higher budgeted mainstream productions could only dream of entering. Allegedly a semi-improvised experiment, in which footage spontaneously shot by Rollin and his two actresses on a trip to New York was expanded on and given structure on their return to France, Lost in New York enigmatically blurs the distinctions between reality, memory, dreams, imagination and the supernatural. An old woman, Michèle, recalls a childhood encounter with Marie, a young girl she finds crying in a presbytery garden because she has no-one to play with. She is holding a statue of a figure she believes is the Moon Goddess and invites Michèle to go on a journey with them, one that involves a picture book that allows its young readers to dream, or perhaps to be physically transported in time and space, to a beach populated by masked spirits, to early womanhood and to another continent. In New York the two girls, now older, find themselves lost and separated, but drawn to find each other in a place very different to the one they have just left. Alternately literate, playful and suggestive, Lost in New York is in some ways one of Rollin's most personal films, uniting elements and imagery from his earlier work and his own fascination with cinema, evident in the influence of the past films of his countrymen and the picture-book trip through favourite movies and characters that the two young girls might allow themselves to become. Intriguingly, the sometimes landmark view of New York remains an outsider's one, a cinematically familiar location that remains as alien to us as it is to Marie and Michèle. We are tourists here, lost in a city where the two girls can be within yards of each other and yet fail to connect, where roses are handed to each by the same passer-by, where an attempted mugging can result in death, and where vampires feed on willing victims after nightfall, only to perish with the rising sun. "Fantasies die at dawn," the stony male voice-over reminds us, having already suggested that at least part of what we are watching is a shared dream. A typically atmospheric music score, here by Philippe d'Aram, contributes to the film's sense of reality dislocation. ...».

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