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2017-09-04 08:46 pm (UTC)
I was at first confused by your description of Dracula's Daughter, but it turned out I was confusing it with Mark of the Vampire, a very different film.
I have not seen
Mark of the Vampire
. That's the sound remake of
London After Midnight
Kes and I watched Nadja t'other day. Personally, I found the pixelation painful, and felt it detracted from an otherwise interesting movie.
I didn't think it needed to use all the Pixelvision it did, but I didn't find it an inherent misstep. It worked very well for me in some scenes.
We much preferred his later horror film, The Eternal.
You made that sound very interesting on top of the innate attraction of the bog body. What I'm getting out of this is that my reactions to
were not a one-off and I should watch a lot more Almereyda.
We also found the ending unclear, as to just what Nadja/Cassandra's status was.
I read Nadja's spirit as present in Cassandra's body, although not in the sense of having replaced Cassandra. Her final monologue suggests a kind of double identity, merging, ambiguous:
"They cut off my head, burned my body. No one knew—no one suspected—that I was now alive in her. We were married at City Hall. At first I felt shattered, lost. But every day is better. I have walked behind the sky. We are all animals, but there is a better way to live. Sometimes, at night, I hear a voice in my head. Who is it? Is it you, Nadja? Is it true that the beyond, that everything beyond is here in this life? I can't hear you. Who's there? Is it only me? Is it myself?"
I think it's meant to be unclear to the viewer because it is uncertain for Nadja herself. She is and is not herself. I liked it as an ending; a more definitive case of possession would have collapsed possibilities in a way that I don't think would have suited the delicacy of the film.
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