By Michelle Martin
Starring Kacey Mottet Klein, Ariane Labed and Grégoire Colin
Written by Adrien Beau and Hadrien Bouvier
Directed by Adrien Beau
WTFilms
In a time where new ideas seem few and far between in the world of movie monsters, it is thrilling to discover something like Adrien Beau’s THE VOURDALAK, a folkloric French fantasy set in the quiet countryside, where strict rules must be adhered to – lest grave consequences are incurred.
The film opens with a knock on a door at night. Only the shadow of the person seeking shelter can be seen, cast against a house by moonlight. A person answers and tells them that they do not open the door for anyone after a certain hour, and immediately, vampiric motifs come to mind. The unsheltered wanderer is Marquis Jacques Antoine, who has been attacked by the Turks in his travels and left without his luggage. He is told to travel along the forest path to the house of Gorcha, who will give him a horse and send him on his way. Upon his arrival, he discovers that the patriarch has left to fight the advancing armies. The remaining family tells the Marquis that their father instructed them to not let him back in if he is gone for longer than six days, and by the time he arrives, the countdown to day six is mere hours away.
“Pastiche” has become a bit of a dirty word in horror after at least a decade of ’80s Carpenter-esque retreads, but Beau’s love for 1970s horror films pulsates through the screen in THE VOURDALAK in a way that feels earnest and perhaps, for him, unavoidable. The influence of films like Viy and Satanico Pandemonium can be felt in this small-scale story of pastoral supernatural horror – to great charm. Some audience members may scoff at the funny puppetry of the titular Vourdalak. However, its idiosyncratic style is cohesive with Beau’s clear love of the genre.
Though the visual aspects of the film match their ’70s roots, some may also say the plot suffers similar pitfalls. Though the story itself is quiet and contained, it does take some time to hit its stride, making for a slower-paced experience. That said, at a completely reasonable 91 minutes, the film never stalls and boasts enough eye candy in the costuming and puppetry to make the viewing worthwhile. It is a perfect example of a debut feature with a ton of promise and a little room for growth, making Adrien Beau an exciting filmmaker to keep an eye on.
