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Nadja
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Directed by Michael Almereyda.
This stylish combination of expressionistic horror and deadpan black comedy centers on the activities of a beautiful female vampire on the streets of New York City. Playing fast and loose with the Dracula legend, the film examines the legendary count's children, particularly the alluring and mysterious Nadja (Elina Lowensohn). At the film's beginning, Nadja is celebrating her father's demise and hoping to begin a new life. She hopes that this life will include Lucy (Galaxy Craze), a spunky young woman that she seduces after an encounter in a New York bar. Unfortunately, Lucy is already married, to the nephew of eccentric vampire hunter Van Helsing (Peter Fonda), who disposed of Nadja's father and has now set his sights on capturing the daughter. Matters are further complicated when Nadja's brother Edgar (Jared Harris), a vampire who wishes to give up his blood-sucking nature, also becomes involved. Gorgeously shot by cinematographer Jim Denault in a mixture of 35mm black-and-white and low-budget Pixelvision video, the film resembles a combination of the surrealist visions of co-producer David Lynch and the quirky humor and stylized sensibility of Hal Hartley. The convoluted narrative sometimes fails to gel, and the self-conscious, arty approach will not appeal to audiences looking for conventional thrills, but those with a taste for the unusual may find the film an appealing contemporary spin on a familiar legend. ~ Judd Blaise, All Movie Guide
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Review by All Movie Guide
All Movie Guide
is neutral about it.
An exercise in deadpan irony, Michael Almereyda's vampire film begins intriguingly but runs out of ideas before it's half over. The strikingly beautiful Elina Lowensohn stars as a vampire roaming New York's downtown scene in search of a new life. The cryptic, black-garbed wraith, whose conversation runs to low-key philosophical non sequiturs, has little difficulty in blending into the landscape. Also in town is vampire hunter Dr. Van Helsing (Peter Fonda), an eccentric figure who's just been bailed out of jail by his nephew (Martin Donovan) after being arrested for driving a stake through the heart of Dracula. Almereyda tries to establish a tone somewhere between the dry irony of Hal Hartley and the more ominous deadpan wit of David Lynch, and for the film's first half-hour or so he carefully maintains this idiosyncratic style. But as it becomes clear that the film is going nowhere, the director slackens his control of the taut mise-en-scène, and the project degenerates into a kind of amusing goofiness. The film's most compelling quality is its hypnotic visual texture, layered with allusions to vampires that are nearly subliminal in their brevity, and alternating between a gorgeous black-and-white and the vampire's honeycombed Pixelvision point-of-view. ~ Michael Costello, All Movie Guide
 



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