Someone tell Edward Cullen horror wants its vampires back.
“Kiss of the Damned” rescues the popular monster from angsty teenage romances by returning to its eerie, Count Dracula-esque roots. This anti-Hollywood tale will take viewers into the psyche of a vampire, all the while exploring the vampirism in human nature itself.
Plot synopsis cannot truly justify “Kiss of the Damned,” as the narrative technique relies more on perspective and subtlety than a plotline. The tale unfolds through the stream of consciousness of beautiful vampire Djuna, her recently converted lover Paolo and her psychopathic sister Mimi, who attempts to destroy their love.
“Vampirism is a different reality” is all we’re told at the start of the journey, when Paolo meets Djuna. Through Paolo’s transformation, we’re sucked into this reality and made to feel the same urges, anxiety and lust that they do. There is no “vampire baseball” or forced relatability to human society, yet vampires have never seemed more real, much to the credit of the mostly French cast.
While Paolo, Djuna and a society in hiding attempt to control their natural urges and coexist peacefully with humans, Mimi blows the lid off of societal standards by tempting them to release their baser desires. Rising tension, relieved only when their temptations are satisfied, forces us to experience the urge with them. Viewers are made to take a bite of the apple of discord, only to swallow an uncomfortable truth about human desire that was explored in the virgin days of gothic literature.
By returning to these gothic roots, director Xan Cassavetes takes a risk with her experimental style, which pays off. “Kiss of the Damned” revives an almost–lost technique of horror and suspense: one that creates the supernatural without big–budget special effects or CGI. It instead opts to use hazy flashback–like sequences, a masterful use of the shaky camera effect and satanic sound effects to simulate a vampire experience that would make Nosferatu proud.
It’s almost a blend between Stanley Kubrick and Wes Craven. The aesthetics, reminiscent of “The Shining,” are wholesomely creepy, from the way the blood trickles down Paolo’s lips to Mimi’s seductive, accented voice. Yet, it’s not all artsy; there are moments of tongue–in–cheek humor and an intentional silliness relieving some of the film’s intensity. The film’s style has something for everybody: the hard–core genre junkies, the gothic-literature fans and the indie-movie lovers.
Well, almost everybody. This vampire tale is not for the kids. It’s not exactly raunchy – the scenes are artfully done – but is explicit nonetheless, which may give as much of a shock to today’s parents as Count Dracula did almost a hundred years ago. “Kiss of the Damned” is an apt title; it’s part erotic, part terrifying, with both elements strengthening the other.
Though much of the style is classic, the soundtrack is completely novel and is singularly the most important component of the film’s aesthetics. It features opera, classical, New Wave and hard rock that is often scarier than the film’s visuals. What happens on the screen is completely detached from the soundtrack, making the film feel like a surreal nightmare. The score makes sure that even with eyes closed, the vampire experience cannot be escaped, standing out as the most exceptional part of the film.
Djuna, Mimi and Paolo redefine what it means to be a vampire, but that’s not to say today’s average vampire is all bad. He is probably good–looking, probably makes teenage girls swoon and probably sparkles. But just for now, ditch Team Edward and get with Team Paolo. It will be well worth it.