Pera Film in­tro­duces vam­pires, one of the lead­ing char­ac­ters of hor­ror movies, in spe­cial, unique movies that re­frain from cliches with a spe­cial se­lec­tion that runs from to­day un­til Nov. 29

Daily Sabah (Turkey) - - Front Page -

wave of vam­pire movies has hit Is­tan­bul as Pera Film screens a spe­cial se­lec­tion of the top-10 vam­pire-based films, in­clud­ing Jim Jar­mush’s “Only Lovers Stay Alive” and David Cro­nen­berg’s “Rabid” un­til Nov. 29

PERA FILM is cel­e­brat­ing Hal­loween with the Un­usual Vam­pires pro­gram start­ing from to­day un­til Nov. 29. The se­lec­tion fo­cuses on the vam­pire con­cept found in many cul­tures for cen­turies and in­cludes lo­cal and unique sto­ries in each ge­og­ra­phy. The pro­gram in­cludes 10 movies, in­clud­ing Jim Jar­mush’s “Only Lovers Stay Alive” and David Cro­nen­berg’s “Rabid.”

The se­lec­tion also in­cludes Cze­choslo­vak Jaromil Jires’s “Va­leri and Her Week of Won­ders,” adapted for the big screen from poet Vitezslav Nez­val, is about a girl on the verge of be­com­ing a woman who meets the world of vam­pires, witches and other threats. A weird and mysterious day dream, the movie is a fairy­tale that does not progress lin­early set in an at­mos­phere like the Me­dieval Ages. This phan­tas­mago­ria of Jires with daunt­ing images and im­pres­sive mu­sic is one of the most beau­ti­ful weird­nessess of Cze­choslo­vakian New Wave.

The se­quel to “Shiv­ers,” “Rabid,” from David Cro­nen­berg, is about Rose, played by Marilyn Cham­bers, who is ripped apart in a car ac­ci­dent and finds her­self on Dr. Dan Keloid’s op­er­a­tion ta­ble in a coma. She un­der­goes a rapid plas­tic surgery and while she sur­vives, there are two side ef­fects: A folic nee­dle in her armpit and a con­stant yearn for blood. While there are sim­i­lar themes to “Rabid,” such as sex­ual con­cerns, mu­ta­tion and ill­ness, Cro­nen­berg sets this movie in a wider Cana­dian set­ting and not the claus­tro­pho­bic at­mos­phere. Rose hunts her vic­tims from Que­bec to Mon­treal and spreads a dis­ease that drives peo­ple mad with blood thirst to var­i­ous crowds on her way.

Be­fore Bella was dream­ing of Ed­ward, Kathryn Bigelow had de­ter­mined the stan­dards of ado­les­cent vam­pire love movies, how­ever, this fa­vorite and many times im­i­tated sec­ond movie of hers, “Near Dark,” can be claimed to be a Western at first. With sun-filled images, a cow­boy, played by Adrian Pas­dar is in love with Jenny Wright, who looks nice and in­no­cent at first but soon he dis­cov­ers the very bad cir­cle of her friends. Her friends, mean­ing blood­suck­ing ban­dits, who drive around in a van with black win­dows, use care­less cow­boys for sat­is­fy­ing their blood thirst and reign death upon ev­ery­one that was at the wrong time and the wrong place. Bigelow cre­ates un­for­get­table images of vi­o­lence but adds com­pas­sion and ap­peal to the cen­ter of this slaugh­ter.

Guillermo del Toro plays with the idea of im­mor­tal­ity in “Cronos,” his de­but movie. A hope­ful and dar­ing story, “Cronos” fea­tures Je­sus Gris, a kind an­tique dealer who ob­tains a golden piece in the shape of a dung bee­tle. He soon be­comes both the owner and the vic­tim of the evil and ad­dic­tive pow­ers of this ob­ject and at the same time, be­comes the tar­get of a mysterious Amer­i­can named An­gel. With strik­ing makeup ef­fects and im­agery, which earned him world­wide suc­cess, “Cronos” is a visu­ally rich, dark and emo­tion­ally chal­leng­ing story.

“Let the Right One In,” from To­mas Al­fred­son, is a story of both growth and vam­pires and is qui­etly eerie with a ba­sic nar­ra­tion. Al­fred­son treats fan­tas­tic ma­te­ri­als as if they are or­di­nary ev­ery­day parts of our lives. While there are bloody scenes, the sim­plic­ity and plain­ness ren­ders these un­for­get­table. Even though, in the end, it is a dark movie, “Let the Right One In” fo­cuses on the re­la­tion­ship of two young ac­tors, Oskar and Eli, who keep their nat­u­ral in­no­cence in a de­press­ing story, re­veal­ing a sense of per­ma­nent hope­less­ness.

Neil Jor­dan started his ex­plo­ration on vam­pirism in the 1996 movie “In­ter­view with a Vam­pire.” In “Byzan­tium,” fea­tur­ing two great ac­tresses, Saoirse Ro­nan and Gemma Arter­ton, he lures us into a world full of vi­o­lence and ter­rors in this tra­di­tional gothic movie, which does not fol­low the tra­di­tional rules of vam­pirism. He com­bines so­cial his­tory with the re­al­is­tic side of deal­ing with phys­i­cal pain. Jor­dan cre­ated a bloody, ridicu­lous yet in­ter­est­ing melo­drama of the un­dead. Adapted for the big screen from Moira Buffini’s “A Vam­pire Story,” the movie has traces of Jor­dan’s taste for the ec­cen­tric com­bined with dark­ness, mak­ing it one of the most im­pres­sive movies he has shot. Neil Jor­don de­picts an en­tic­ing story weav­ing in love, gothic and blood.

“Only Lovers Left Alive” is about two soul mates, Detroit and Tanca, an un­der­ground mu­si­cian who is de­pressed from the ac­tions of hu­mans and his stub­born and mysterious girl­friend, who re­unite in this tale of love and old age, mu­sic and sur­vival in the midst of eter­nity. Their love af­fair has lasted at least for a few cen­turies but their hap­pi­ness is soon shat­tered due to a wild and un­con­trol­lable sis­ter. Will these two frag­ile souls be able to sur­vive while the mod­ern world around them col­lapses?

Spaghetti Westerns, 1950s out­cast youth movies, car movies, ado­les­cent rom-coms and Ira­nian New Wave are all can be found in “A Girl Walks Home Alone at Night.” Di­rected by Ana Lily Amir­pour, the movie is set in a warped and black-and-white ver­sion of Iran, even though it was shot in Cal­i­for­nia and com­bines these eclec­tic ef­fects and es­thet­ics of the West and the East, thus be­com­ing the “first Ira­nian vam­pire Western.” The film is con­sid­ered a woman-em­pow­er­ing vam­pire movie.

Shoot­ing a movie can turn into an ad­ven­ture from time to time. For ex­am­ple, if you want to shoot a doc­u­men­tary on vam­pires, it might be best to make them prom­ise that they won’t suck your blood. You may want to con­sider car­ry­ing a cross as well. Vi­ago, Dea­con and Vladislav are three vam­pires who live in their own se­cluded house with Petry, who is in a coma and who has def­i­nitely seen bet­ter days. Some of them are 400 years old though they are like teenagers in terms of morals and caprice. They are also wor­ried that no one in­vites them to night­clubs. Yet, their new friend, Stu might be able to help them. They al­low him to re­main hu­man. The movie on the his­tory and lim­it­less imag­i­na­tion of vam­pire le­gends adapts hun­dreds of years of old news to to­day with a hu­mor­ous take cre­at­ing both a sit­u­a­tional com­edy and cul­tural re­fer­rals. Drink­ing blood might get messy but even af­ter hun­dreds of years, it is still a pop­u­lar ac­tiv­ity as can be seen in “What We Do in the Shad­ows.”

Two mer­maids wash ashore at a night­club in War­saw. Pol­ish di­rec­tor Ag­nieszka Smoczyn­ska’s re­take on her own youth is de­scribed as her “first cig­a­rette, first heartache and love,” while she grew up in her mother’s night­club. “The Lure” is a new re-adap­ta­tion of Hans Chris­tian An­der­sen’s “Lit­tle Mer­maid.”

Still from “Only Lovers Stay Alive.”

Still from “What We Do in the Shad­ows.”

Still from “A Girl Walks Home Alone at Night.”

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