This would have made a beautiful short film, worthy of a higher rating, for acting, cinematography and concept; the actresses are as fetching as the scenery and it's a period piece - what's not to like. stretched too thin, repetitive scenes that drag on forever, and the pretty sand castle collapses as one falls asleep mid-scene. a central tenet of the plot is not well enough executed for suspension of disbelief, even for a die-hard fantasy/sci-fi fanatic like myself, who usually finds escapism preferable to hyper realism and has no patience for the 'suspension of disbelief' crowd. I haven't read the book, but it seems doubtful that this crucial detail wasn't more convincing on the written page, or that so little happened over such a long time. put a gel sleeping ice pack on your eyes, put Enya on in the background, burn some lavender incense and take a nap instead.
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leisurelymoments22 October 2019The atmosphere was there, the characters were there, although not fully fleshed out, but the vampirism was not. I couldn't even completely grasp what Carmilla was doing to Laura, considering she never feeds on Laura or really does anything to cause Laura's illness. The whole film plays with the fact Carmilla is odd but never gets to the root of what she is or what she does. A lot of kissing between the two main characters which should have technically been vampire bites (this would have substituted for so many unanswered questions and filled in the plot holes). There is a scene towards the end where Carmilla walks into the room with Laura and we see her reflection. It would have been much better if we didn't see Carmilla in the reflection and she would have startled Laura instead. It's the minute details that would have aided to perfecting this movie to me. Miss Fontaine finds a book, possibly satanic in nature from Carmilla's carriage but we never learn what power she harnesses, if any. In the end Carmilla gets staked in the heart as Laura watches. It's as if the director purposely took out all the key elements and answers from the original story and we are left with a shell of what could have been. If you don't compare it to the novel and view it as stand alone film it's not bad by any means but as I stated earlier if you use the title "Carmilla" and have everything present except the main premise.....it just doesn't click. I am biased for this story however regardless of it all and the cinematography was gorgeous, as was the cast and atmosphere. I stand by a rating of 5/10. Let's just hope it comes out on blu ray.
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nickshanagher23 September 2021One of the characters believes that after death, there are "deserts of eternity". I experienced these while watching this beautifully shot but so, so, so slow-moving film.
The acting by Jessica Raine and Hannah Rae is good. However, the story fails to get out of first gear. While there are some great moments, there is no suspense, and you won't remember much about the film a week after viewing. Slow and beautiful like Kubrick does it but without any message. -
neilo15024 October 2021As soon as you see that word you know what you are in for. Why people feel the need to "reimagine" classic stories is beyond me. Just say it is a new story based around the source material. Read the book instead.
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kosmasp25 May 2022So the name Carmilla seems to be loaded. Or the character, but you associate the name with ... well you know what I mean. That being said, I am copletely free of that baggage, so I can't really relate if that is problematic for some. I can say that I liked the movie and the drama it build.
The oppressed, the not being able to express ones feeling(s). And the horror elements of it. Even if there were a few too many dream/nightmare sequences in it for my taste. But that is me - you may feel differently.
Good acting, good cinematography and overall very well made. The "old" setting, the sexual and occasional explicit violence is something you have to be able to dig ... go with the flow sort of. If you can the movie is quite rewarding. -
erostew27 May 2021So yeah. I have no idea why they used Carmilla as the "basis" for this film. It trades the baggage of eroticism and exploitation from many previous films and tames it down into a feminist lesbian love story. I'm not saying that a feminist lesbian love story is a bad thing or that it shouldn't be told. Everyone has a right to be heard.
I came into this cold merely because of the title and to say the least I was left underwhelmed. Maybe the filmmakers had the purest of motives I. E. "We shall take this gothic novel and rehabilitate it to remove the stigma of exploitation and objectification". But it ends up seeming like a cynical exploitation of those previous films just for the purpose of making money.
There are some redeeming qualities to this film. It looks absolutely stunning. A real visual treat. The acting is not bad. The score isn't terrible.
But what it doesn't really have is a heart. The "love story" is rather banal and honestly boring. Direction is very stiff. The writing is honestly bland and uninspiring. There isn't anything to make me feel any emotion except irritation. A perfect example of style over substance.
In short it's much too tame and contrived. In fact there isn't really much vampire in this vampire movie. I think what they were trying to say had something to do with "Carmilla was persecuted for being a lesbian". But who knows? The exact same ending could be the work of someone trying to say lesbianism is evil. -
If like myself you are a fan of Joseph Sheridan often forgotten or misrepresented Carmilla novel and character, and saw this thinking that at last you had found a movie that understands that Carmilla is not Elizabeth Bathory, or some crazed blood thirsty nymphomaniac who kills constantly and acts like a petulant child. But instead remembers and seeks to bring forth her complex and more tragic personality as she struggles with the need to kill in order to sustain her life, her caring and loving obsession with Laura even as she slowly turns her into a vampire like herself and builds upon the novella to expand her character, her backstory and her relationship with Laura in a well made movie. Keep looking my friends because this will do nothing but aggravate you at every turn. From simple things like changing Laura's name to lara, to much larger things like changing the reason behind Carmilla's very name. Even Carmilla's vampiric nature is dubious at best in this slog of a film. This movie has no respect for the Joseph Sheridan's novel or its characters.
Even as a film this in mind numbing, with frequent long drawn out scenes of nothing that can go on anywhere from 20 seconds to an entire minute. The characters are uninteresting and given no time to develop personalities, nothing is set up about the family or why we should care. The idea that Carmilla is a vampire is only introduced in the last five or so minutes and is never even truly confirmed. This film is so slow it could be used as a sleep aid. More time is spent reciting poetry or looking at rotting fruit than establishing anything about these characters save for the religious fanatic antagonist who feels out of place.
As a romance it fails with absolutely no chemistry or development between Lara and Carmilla in favor of insentient "eroticisms", the two have almost no interactions that don't involve making out. Most of the time instead of being spent building up our leads is instead spent with some obnoxious religious zealot antagonist made for the movie. Lara and Carmilla have no time to become a couple, the months spanned in the book is condensed into less than a week within the film and the two almost never sit and talk, nor interact in any of the ways they did in the book. As a result we end up with two bland chunks of wood making out. If you are desperate for some lesbian action, I suggest you just go watch porn. It will be shorter, get to the part you want faster and will no doubt be both better written and acted.
As a horror, I don't even think this could be called a horror. There is nothing scary about this movie. All the slow creeping unease of the novel is replaced with lesbian kissing and the annoying antagonist. There are no moments of the slow "plague" spreading slowly through the nearby town as Carmilla sates her hunger. No nightmare of Carmilla and Laura's first meeting. No moments of Carmilla vanishing from a locked room for a day. Instead we get two out of nowhere nightmares more interested in sub par gore and lesbian kissing than on horror or character development. As a vampire movie it isn't. The fact that it's entirely possible that Carmilla in this is not a vampire and Laura just happened to get sick on her own is infuriating for any who go into this expecting a horror or vampire movie.
And as an adaptation of an underrated book that could and should be adapted quite easily with interesting characters and a twisted sense of love with the lesbian nature being subtext. The Karnstein family is never mentioned. The significance of Carmilla's name is tossed aside in favor of it just being given to her randomly. Everything that made the book so good is absent or insulted by this film.
For those who have never read the book, I highly suggest it. I assure you it is much shorter and far better than this boring movie. -
Xstal17 October 2020... says Lara prophetically to Carmilla, more likely referring to the reviews that would equate this to conjunctivitis with complications, a urinary tract infection with a full bladder, cysts in places you wouldn't want them or a severe case of smallpox - all preferable to this Hades, grab the nearest stake and insert into any orifice to rid yourself of this nightmare and absolute chore.
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I had the pleasure of seeing this on a big screen at Portsmouth's Making the Waves film festival with writer/director Emily Harris in attendance for a Q and A. She says it is loosely based on Sheridan Le Fanu's original novella of the same name but it is certainly true to the spirit of his tale of Sapphic vampires (interestingly pre-dating Stoker's Dracula). To start with, Harris's background in fine art is evident throughout and present in nearly every frame. It looks beautiful. From the muted candlelight of the interiors to the filtering sunlight of the exteriors to characters framed in windows or in nature. Speaking of nature, this is compared and contrasted with human nature and we get close ups of both in all its beauty and ugliness. It is superbly cast with newcomers Hannah Rae as a convincingly wide eyed innocent and Devrim Lingnau bringing a mesmerising, feline, otherworldly quality to the title role. They anchor this tale of female sensual awakening superbly and they are backed by the better known names of Jessica Raine and Tobias Menzies, the former bringing an effective cold puritanism to the proceedings and the latter an incisive charisma. If there are any monsters in this film they are them, carrying out a horrific act based on scant evidence and like many wrongs in the world, 'for the best of reasons'. Greg Wise also has good moments as the patriarch of the house. The ambiguity of whether Carmilla is or isn't a vampire is judged perfectly-she rises late, has a fetish for blood, a dog is unsettled by her, her choice of reading matter seems to consist of black magic and eroticism and her 'victim' seems to be drained of life and vigour (and we have hints she might have been responsible for the fate of another young maiden) but we have cheeky little nods to vampiric movie tropes when we see her reflected in a mirror, handling a cross and walking in clear daylight. One gets the feeling the film maker is saying she is not but still leaving it up to us to decide. Shades of The Turn of the Screw and My Cousin Rachel occur to one. This film won't be for everyone, it is a slow burner, which I feel works in its favour, but may be exasperating to some and if you are expecting horror, it is certainly present, not in a supernatural form but in a more chilling, human one. The nod is given in some Freudian dream scenes featuring bloodletting and a mysterious man who turns out to be the acceptable face of magic, a village conjuror (Scott Silven). It certainly has all the trappings of a superior gothic drama and is a fresh and exciting addition to the genre. Previous film versions based on the novella include Hammer's The Vampire Lovers which is closer, bizarrely, to the original story, but it has an exploitative undertone that makes this subtler and more pensive film truer to the spirit of Le Fanu's piece.
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pistachiata15 October 2020I liked this movie. It had some great cinematography, especially shots of nature, but I would have liked to know what I was looking at and what they were doing, and not just the animals. Some spots in the movie were very dark.
I did think the exchange of blood between the two girls and their kisses were adequate to establish the transfer of any vampiric essence, if in fact we're sticking to classic vampirology.
My biggest gripe about Carmilla was the frequently unclear sound. Garbled speech was maddening. If speech is going to be difficult to hear, the least they could do is make captions. -
novaeden-2858625 February 2024I almost never leave movie reviews, so few are so great I'm stirred to go out of my way to leave a positive review and none have ever stirred me to leave a negative one. This is a first. This film is an absolute waste of time. Yes it is emotional, but to what end? I hate to spend over an hour of my time to leave disturbed with nothing to show for it. There is no message here, no deeper meaning or purpose to this poor plot: just two teen girls being tortured and one killed for no purpose or meaning that isn't already blatantly and painfully obvious to any woman alive. We know women have had it hard throughout history. If you're going to dredge up the pointlessness of historical oppression please offer something in exchange. If you're looking for an emotional art piece don't bother with "Camila".
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Joseph Sheridan Le Fanu's 1872 novel 'Carmilla' is an indelible classic, a slice of gothic horror that has served as inspiration for some great movies and a terrific web series - not to mention an entire niche genre. Most works that are described as adaptations are faithful to wildly varying degrees; sometimes only one or two major ideas remain, sometimes the wealth of the plot. For that matter as well, tone has varied significantly, but to one extent or another, in one way or another, most adaptations have certainly emphasized the horror element. What readily comes across about this 2019 version is that it quite stresses the feeling of not just a period piece, but specifically a period drama; if one knew nothing about 'Carmilla,' this movie would bear the immediate appearance as an extra somber cousin to 'Jane Eyre,' 'Pride and prejudice,' or the like. The genre element is woven in very discreetly, reflected more than anything else in the dark, intense airs about the proceedings and in intermittent imagery - unnerving dream sequences, or superficially disquieting, thematic shots of nature at its most harsh. Why, for all the splendid, lush modern production values, it's not wrong to say that this picture rather carries the genre sensibilities of cinema in the 1940s, wherein significant portions of the content were simply suggested rather than depicted.
In fact as much as I love, say, 'Terror in the crypt,' 'The vampire lovers,' or especially 'The blood spattered bride,' it may well be that 2019's 'Carmilla' is actually the most honest and direct adaptation of Le Fanu's famed prose, if not also the most worthy because of it. After all, in 1872 the lesbian undertones were as subtle as they were unmistakable, and notions of horror were generally far removed from what we have come to recognize in the 20th and 21st centuries. With rare exception, this feature honors these two pillars of the narrative with a tack so deeply understated, or even underhanded, that one who isn't prepared to engage with such an approach may not recognize that either were present at all. Yet that extreme discretion actually serves to amplify the haunting and softly sorrowful impact of every line of dialogue, emotion, scene, and story beat, not least at the climax and ending. Visualized flashes of sapphic romance, or of Carmilla's particular attachment to and draining effect on Lara, are substantially outweighed by dialogue giving merely nuanced allusion to these, or precisely calculated visual clues (e.g. Impeccable makeup work). The result is a viewing experience that is never visceral, titillating, or fun in the same manner as the Lesbian Vampire genre that Le Fanu's novel has subsequently inspired, but which would seem to best echo the tenor of that novel, and prioritize it. Dare I say - I think this 'Carmilla' is the version of his work that Le Fanu would probably approve of the most.
My heartfelt, sincere commendations to filmmaker Emily Harris. In penning her adaptation, it seems clear to me that the foremost questions on Harris' mind were how Lara and Carmilla's burgeoning relationship would be spoken of in the society of the mid- to late-1800s, and how Lara's illness and the suspicions of Carmilla would be discussed. These questions inform how the movie goes about depicting these story elements, just as we see in the climax and ending the logical answer to "how would the governess' response to Carmilla impact Lara?" It seems to me like Harris approached her screenplay with a very literary and analytical mind; to further cement the point, note Miss Fontaine's fixation on Lara's left hand, and the historically accurate superstition. This is a detail which incidentally, appropriately, and reasonably has of course been employed as a point of comparison or metaphor for how the LGBTQ community has been maligned over the years. Such thoughtfulness is paramount in this treatment of the material - it's no genre romp, but rather an earnest period interpretation that takes into account the values and mores of the time and place. With this firmly in mind, the characters in this film are given vivid, lush new life; the dialogue rings out all the more; the scene writing and narrative is all the more rich, absorbing, and quietly compelling. The love between Carmilla and Lara is felt all the more; the hushed pall of gnawing dread is pulled all the more taut. Strictly in terms of overall quality, a spectrum from "good" to "bad," depending on one's opinion of other related pictures 'Carmilla' stands strong in their company. In terms of how truthful this and related pictures are to Le Fanu's novel and the critical mind that penned it, I believe 2019's 'Carmilla' unquestionably comes out on top.
And, why, we've barely begun to talk about the movie! I love the cast; there's a tactful nuance in each performance that breathes limitless vitality into each part. This is true of even the smallest supporting role, though of course since Hannah Rae, Devrim Lingnau, and Jessica Raine have the most time on-screen, they shine brightest of all. All the visual elements that establish the period setting are fabulous - filming locations, production design, art direction, costume design, hair and makeup, props. Those sparing effects we see look fantastic; while I could do with a bit more light in the presentation, the lighting as an aspect of filming is lovely, as are the cinematography and editing. While Philip Selway's score breaks with the period content, in keeping with the overarching spirit of 'Carmilla' it does so with a finesse that allows the themes to nevertheless feel like an organic part of the affair as they lend to the mood at any point. And while Harris' screenwriting is without a doubt the defining quality of the feature, her direction is just as fastidious and attentive in realizing every slight minutiae before us. From top to bottom this is marvelously well made.
The number one thing to know about this for anyone checking it out it is that it is not Jordan Hall's 'Buffy'-esque web series, and it is not 'The blood spattered bride.' It is not Hammer's Karnstein trilogy, it is not Roger Vadim's 'Blood and roses,' and it is not Carl Theodor Dreyer's 'Vampyr.' This is a film with a horror element, but it doesn't resemble a horror film or a vampire movie as most people would recognize them. This is a film with an element of lesbian romance, but it is not a lesbian flick as most people would recognize one. 2019's 'Carmilla' explores these concepts with the same delicate hand as the source material does; it explores the source material with the delicate hand reflecting how the fictional tale could have possibly played out in real life in the time it was set. With all this said, I can understand why reaction to 'Carmilla' has been middling, for it very much differs from any other audiovisual media with which it shares a point of origin. The intent is also very different, however - and that intent is so well met that frankly, this is perfect. For emotional reasons I may have a greater attachment to other titles that derived inspiration from Le Fanu, yet this is so exquisite an adaptation - not to mention its tremendous value on its own merits - that I'd have no qualms recommending it to anyone who appreciates the novel in and of itself. I get why other folks may not have such admiration for it, but I absolutely love it: Emily Harris' 'Carmilla' is a phenomenal interpretation of a literary classic, and it earns my heartiest, most enthusiastic recommendation. Bravo! -
YayNayorMeh23 December 2020Excellent film that uses the framework of a gothic novel to tell a different and much more ambiguous tale (Who is the monster?).
This is a film much more interested in female intelligence and desire and the crushing of female intelligence and desire than it is in lurid Jess Franco-esque titillation or squelchy Roberto Rodriguez-esque gore.
The ambiguity of whether there is anything supernatural going on or even if there is anything homoerotic going on is pitched very well and brings up other aspects of life such as the propensity for a witch-hunt. Jessica Raine is excellent in her supporting role.
Reminds me of 'Lady Macbeth' in all the best ways. Emily Harris is another director to watch. -
varrya-i18 October 2020I read previous reviews from other users, and found out that one of the biggest omission was, in their opinions "not enough vampirism" - reflection in the mirror, fangs, drinking blood, transformation into animals. But I think this movie no need all this confetti. In cinematography was a lot of difference in vampire nature and forces. For some obvious reasons the vampirism wasn't just a fairy tale - it interpreted as an illness. Pale skin, dreams looks deadly, absence of appetite. Looks close to many illness symptoms, isn't it? So here we have this type of vampirism - more realistic close to the occurrence of nature. We saw a lot of shots with nature itself, this is another sign. Young pretty girl was born as a left-handed, also she has curious mind and desires of knowledge, all of these features had been forbidden. Miss Fontaine was strict and religious in that manner where no one could be improper, in her interpretation. She wasn't holy she have been sinner. And when she finally found out all inopropriate evidences. She decided to "protect" Laura in same manner - forbides every unusial behaviors, right till the Carmilla death. But as we all see in last scene - Laura changed forever.
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slimeboy-6263224 October 2021I LOVE vampire movies, i've seen as many as i can get my grubby little hands on, and i really loved this one. This one has a very beautiful ambiguity that i really really love. At lot of these other reviews seemed to hate that, but in this adaptation you don't know of carmilla really a vampire, you just know something isn't right with her, and i loved that. It's still visually very beautifully gothic, but if you want candelabras and fangs on necks this isn't necessarily a traditional vampire flick.
In the original novel, lara doesn't reciprocate carmillas advances but this one is this very strange, romantic love story between the two of them that i think works much better than original antagonist carmilla.
There is a bit of gore in this one, it's mildly graphic, but i think it works really well especially in the context of the whole movie. -
patriciaabbot16 October 2020The actors in this film are mesmerising and the film is beautifully shot. Definitely worth watching
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pmc-1774120 October 2021I have seen and own the Hammer trilogy that is famous for being one of the first to adapt the story, and I would call them tame by 1980 standards, but yet still interesting to view. I would say the same for this adaption. Being 60, I grew up in the era of plot driven stories that at drama and so do not believe that every movie is non stop action as it has been since 2000. It is not a porn flick either, it is an attempt to understand the author point of view. There are other adaptions from this time period that I have not seen. I found a new Blu Ray and paid less than $30 for it and will add to my library of fine films and movies as well as B movies that I love.
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mshavzin21 June 2021Im really not sure what happened in this film. Was Camilla a vampire? Doesn't seem like it. But then what was ailing Laura? And why did the dog growl at her? Why were three other girls ill. Why was she into blood? Ok, so maybe she was one. But then why didn't she seem to have any supernatural power? Who knows. And why did Lauras reflexion turn into Carmillas at the end? Again, who knows. But you will definitely have fun watching this, if on ly to try and figure out what the heck is going on.