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Review: 'The Blood Countess' Stars Isabelle Huppert as Vampire

A review of 'The Blood Countess' praises Isabelle Huppert's performance as a vampire, noting her captivating and humorous portrayal.

16 Feb, 20:45 — 16 Feb, 20:53

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By FRANCE24

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The Guardian1h ago

The Blood Countess review – Isabelle Huppert reigns supreme in a surreal vampire fantasia

Vienna turns into a playground of camp, cruelty and aristocratic disdain in a blackly comic take on the Báthory legend – with Huppert gloriously suited to the title role From the dark heart of central Europe comes a midnight-movie romp through the moonlit urban glades of Euro-goth and camp from German director Ulrike Ottinger. As for the star … well, it’s the part she was born to play. Isabelle Huppert is Countess Elizabeth Báthory, 16th-century Hungarian noblewoman and serial killer, legendary for having the blood of hundreds of young girls on her hands and indeed her body, in an attempt to attain eternal youth. The “blood countess” has been variously played in the past by Ingrid Pitt, Delphine Seyrig, Paloma Picasso, Julie Delpy and many more, but surely none were as qualified as Huppert who importantly does not modify her habitual hauteur one iota for the role. Her natural aristocratic mien and cool hint of elegant contempt were never so well matched with a part. She gives us the classic Huppert opaque gaze – part dreamy, part coldly assessing – and the politely bemused half-smile of concealed distaste, merging into a pout, at the absurdity or ill manners of someone to whom she cannot avoid being introduced. Unlike the other mere mortals in this film, Huppert’s face is lit like that of a Golden Age Hollywood star, giving her impeccable maquillage a ghostly sheen of profane sainthood. Continue reading...

By Peter Bradshaw

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variety1h ago

‘The Blood Countess’ Review: A Hilarious Isabelle Huppert Fully Puts the Vamp Into Vampire

Whether saturating entire frames or dribbling down a rare contrasting design element, there’s red everywhere you look in “The Blood Countess,” as you might well expect. Little of it, however, is the dark congealed claret of blood as we know it. Ulrike Ottinger prefers to paint in the garishly declarative, candied reds of off-brand ketchup, […]

By Guy Lodge

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