Le Vourdalak

This is a very watchable adaptation of one of the earliest vampire novels, The Family of the Vourdalak, written by Aleksey Konstantinovich Tolstoy, cousin of Leo; a gothic novella written in French. Stoker's Dracula was first published in 1897. Polidori's The Vampyre, acknowledged by many as the first dastardly tale, was 1819.

The film is a French one, directed by Adrien Beau, set at the time it was written, and staying quite close to the text of the book. It's Beau's directorial debut, and a fine way for him to announce himself.

Lost deep in a Slavic forest after a malfunction of his carriage, a French travelling aristocrat is taken in by a strange family which he initially fears are being terrorised upon by a vicious vampire.

As becomes clear, and is not a spoiler, the vampire, or Vourdalak, is actually the elderly father of the family, who behaves in a bizarre way from the outset.

The story is told initially at a slow pace, which it deserves, but increases in tempo until a splendid gory finale. Controversially amongst some reviewers, is that the Vourdalak is played by a puppet, voiced by the director himself. For me it works fine, though there is some disagreement amongst other viewers. The old man's appearance is key to the film, and it's difficult to know how else he could have been portrayed. Puppets or dolls have an established place in folk-horror, and this chilling and cadaverous addition is most welcome.

It's an atmospheric gothic tale with a good helping of Slavic folklore.

If the title sounds familiar, it's probably because you recognize "wurdulak" as the word for the vampire in Mario Bava's Black Sabbath. This is another version of that story by A. K. Tolstoy, and it's a peculiar mix of folk horror and vampire myth. It's slow - Bava told the story in 1/3 the time - but very enjoyable, with a charming performance by. Kacey Mottet Klein as Marquis Jacques Antoine Saturnin d'Urfe, prancing around the Russian forest in his powdered face, beauty spot, wig and stockings. Imagine Barry Lyndon in The Company of Wolves. If you like your vampires on the European weirdness side, give this a watch!

The Vourdalak is a stylish, low-budget French movie from 2023 in which a noble emissary of the King of France seeks refuge in the home of a family living deep in the woods. Soon, they are confronted by an evil that begins to consume both the family and their new guest.

From the cover, it's clear that The Vourdalak is a film about a vampire-like creature. The cover design is unique and eerie, which certainly piqued my interest in watching the movie. It successfully captures the historical time frame, with spectacular costumes and set designs. The film has a mysterious atmosphere steeped in fantasy elements. The acting was strong, and the small cast of characters was engaging. I particularly enjoyed the dark approach, which had a few surprises up its sleeve, especially in the third act, where a memorable scene occurs that lingers long after the credits roll.

Overall, the movie manages to be distinctive enough to provide a memorable experience. However, it never fully immersed me in the story. The pacing felt a bit slow, which is a subjective criticism but hard to overlook. My biggest issue, though, lies with the use of puppets, especially for the antagonist. This creative choice consistently broke my immersion. I found myself distracted, imagining the behind-the-scenes mechanics of the puppetry, such as how the puppeteer might be moving at any given moment. This detracted from the film's ability to build a frightening atmosphere and ultimately prevented me from fully engaging with the story. While this may not bother everyone, it was a significant hurdle for me. I do admire those who didn't experience this issue.

The Vourdalak is a unique film with a sophisticated approach, offering something different from the countless movies Hollywood churns out daily. However, it didn't entirely grip me, which affected my overall experience. Perhaps it might work better on a second watch, but for now, I can't rate the movie any higher. [5.2/10]

I wasn't sure what I was to expect when I first started watching this movie other than a French vampire movie, what I found was an enchanting gothic tale of love and loss.

The movie is an underrated achievement in these days of digital film making. Filmed in 16mm, and using old school practical effects, it looks wonderful like it came from 60 years ago. The Vourdalak is an amazing creation, a marionette, which gives it a completely otherworldly appearance and way of moving, capable of being both real and supernatural at the same time.

It's not just the way the movie looks that is intriguing but the way it is written, directed and acted as well. It has a very stage play style of writing and acting, everything is a little over dramatic, less trying for realism, and more for drama it might come off as campy to some, if you know where this movies heart is you understand it's not campy.

I don't get the other reviews of it being a comedy, even a black comedy. Perhaps they feel it's being campy with its puppetry and old school ways, and not realizing that it is trying for a style of movie that doesn't exist anymore like Viy, The Old Dark House, and Black Sunday.

After making a couple of shorts, French artist Adrien Beau made his first feature film in 2023, inspired by the gothic novel «The Vurdalak Family. Unpublished Fragment of the Memoirs of a Stranger», written in French by Russian author Aleksey Tolstoy in 1839, which has been adapted to film on numerous occasions as a horror drama. Beau does not elude the horror angle, but by making the decision to dispense with computer visual effects to represent the vurdalak (vampire) and opting for a puppet that he designed, executed and voiced, his film takes different directions, including comedy, without express intention, so that the story evokes fascination, smile (or laughter) and terror in turns.

There is nothing comic about the story. In the middle of a forest (Serbian, in the original), a young marquis and ambassador of the King of France (excellent Kacey Mottet Klein) is assaulted and robbed by Turks. The courtier seeks help at the house of a peasant named Gorcha, to continue his journey. But the peasant family and the French diplomat, are all besieged by old Gorcha, who has become a bloodthirsty vurdalak. For his "mise en screen", Beau shot the film in 16 millimeters, which gives a richer and realistic visual quality to the image, in these days when we are accustomed to the pulchritudinous digital image; and in several scenes he resorts to the terror that arises from "the unseen", from what happens in the dark, instead of the explicit images in which the vurdalak subjugates all.

The decision to use a puppet may have been completely intentional, considering that all the characters are indifferent to his cadaverous appearance. Avoiding that "terror a la antique", with figures generated by the most macabre and sinister sector of an author's brain, and reluctant to make it visible with "grace a la CGI", Beau gives another dimension to the macabre, gives it some humor, with a cardboard entity without the fluidity of the computerized image, but which is capable of draining life and startle us, as the shot in which the vurdalak appears behind his little grandson and voraciously bites his neck and consumes his blood.

«The Vourdalak» premiered at the Venice Film Festival, within the framework of Critics' Week, where it won the Jury Prize for Best Female Performance for Ariane Labed (wife of Yorgos Lanthimos and awarded at that same festival for her performance in the drama «Attenberg» by Athina Rachel Tsangari). Currently it must be available on Amazon Prime (which co-produced it). Don't miss it and have your good glass of wine or bag of popcorn ready.