BLOOD DYNASTY is an arty indie horror flick made as a tribute to the 1970s-era "lesbian vampire" pictures such as DAUGHTERS OF DARKNESS and VAMPYRES. It's a near plotless outing about sexualised female vampires prowling around a coastal region looking for victims. There's no nudity but some blood, and mainly this is composed of slow landscape shots with ethereal figures in them. It's a bit like a Jean Rollin movie but without the decent style.
3 Reviews
4 People and a Camera
shanewells-2438721 November 2017
I enjoy B rated movies as much as the next guy but this was truly uninspired.
Some videography credit is due but that is the only thing due. Costumes were unimaginative, lighting was overdone on inside shots, music was OK but fairly monotonous.
Not fun to watch, no suspense or intrigue... I wish I had that time back on the clock.
Some videography credit is due but that is the only thing due. Costumes were unimaginative, lighting was overdone on inside shots, music was OK but fairly monotonous.
Not fun to watch, no suspense or intrigue... I wish I had that time back on the clock.
Spoilers follow ...
parry_na3 November 2017
Warning: Spoilers
Irina (Shauna Henry) is back. Fresh – or perhaps, not so fresh – from her earlier excursions 'Blood for Irina (2012)' and 'Queen of Blood (2014)' – here, she shares the centre stage with Cheryl Singleton. Typically oblique, Cheryl's character is labelled simply as 'the girl.' There are only two words of dialogue in this 70 minute experimental production, the first being 'Irina', and the last being
well, that may or may not give away potential spoilers, so it'll stay a secret.
It might be true to say that this doesn't quite match up to the dreamlike mix of seduction and revulsion of previous entries to the series, or perhaps a certain familiarity with the material is creeping in. Scenes here are repeated, returned to, and progression of narrative is a blur. Earlier on, 'the girl' is dressed so similarly to Irina in 'Blood for ' that I wondered which character it actually was we were watching, especially as she makes several slow strolls into streets very similar to those in the debut film. Except here, everything takes place in blustery sunlight. And in the distance, the reassuring bustle of the modern world, the 'real' world – always just too far away.
The two main characters are fascinating as always, and Henry's performance particularly takes on new dimensions here. The weird, graceful, flowing movements of her hands as she ensnares/seduces seemingly willing victims have a Lugosi-ness to them. She remains an enigma. Irina seems happier here than ever, and yet she appears ultimately determined to end it all – or at least end this chapter of her tranquillity.
Why she has this self-destructive streak, how 'the girl' ever knew about Irina's existence, remains an enigma, as does the young boy (played by Director Chris Alexander's own son) and his involvement in the scheme of things.
Carlos Henrique's gore effects deserve a cast credit all of their own, and yet the excursions into blood-sucking are presented with a visceral beauty about them. 'Blood Dynasty' continues what I hope is an ongoing series featuring this fascinating concept/character. Fans of Jean Rollin and/or Jesus Franco will doubtless find a lot to love here.
A selection of the exemplary soundtrack suites (by Alexander and Delphine) are on the recently released 'Blue Eyes of the Broken Doll' album, also highly recommended.
It might be true to say that this doesn't quite match up to the dreamlike mix of seduction and revulsion of previous entries to the series, or perhaps a certain familiarity with the material is creeping in. Scenes here are repeated, returned to, and progression of narrative is a blur. Earlier on, 'the girl' is dressed so similarly to Irina in 'Blood for ' that I wondered which character it actually was we were watching, especially as she makes several slow strolls into streets very similar to those in the debut film. Except here, everything takes place in blustery sunlight. And in the distance, the reassuring bustle of the modern world, the 'real' world – always just too far away.
The two main characters are fascinating as always, and Henry's performance particularly takes on new dimensions here. The weird, graceful, flowing movements of her hands as she ensnares/seduces seemingly willing victims have a Lugosi-ness to them. She remains an enigma. Irina seems happier here than ever, and yet she appears ultimately determined to end it all – or at least end this chapter of her tranquillity.
Why she has this self-destructive streak, how 'the girl' ever knew about Irina's existence, remains an enigma, as does the young boy (played by Director Chris Alexander's own son) and his involvement in the scheme of things.
Carlos Henrique's gore effects deserve a cast credit all of their own, and yet the excursions into blood-sucking are presented with a visceral beauty about them. 'Blood Dynasty' continues what I hope is an ongoing series featuring this fascinating concept/character. Fans of Jean Rollin and/or Jesus Franco will doubtless find a lot to love here.
A selection of the exemplary soundtrack suites (by Alexander and Delphine) are on the recently released 'Blue Eyes of the Broken Doll' album, also highly recommended.
See also
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