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DIRECTED BY: Michael Almereyda

FEATURING: Elina Löwensohn, Peter Fonda, Suzy Amis, Martin Donovan, Jared Harris

PLOT: Dracula’s estranged son and daughter reunite after his final death.

COMMENTS: A remix of Bram Stoker’s original text haunted by the influences of prior adaptations, Nadja is an atmospheric homage to the Universal monster flicks of the 1930s filtered through the East Village art scene with deadpan Brechtian cool. Bela Lugosi portrays Dracula through clips of old footage. For half the film, the image appears distorted by an aura of supernaturalism, thanks to a pixelating camera. The rest of the cinematography is crisp black and white, interiors cloaked in Expressionist shadows, exteriors swathed in shrouds of fog.

When André Breton met the woman who called herself “Nadja,” she had left behind one life and arrived in Paris seeking another. We meet Almereyda’s Nadja in a similar scene, on a date with a random guy who asks her the usual questions. “Do you work?” “No.” Her father provides for her. What does he do? He has money, family money – old money that goes back all the way to Romania. But she left Europe because it’s like a small village, whereas New York City is the world. She talks of how she wants to change her life. She can sense the potential for change but, as Renfield will remind her, changing your life is easier said than done, even when you’re undead.

The guy asks if she wants another drink. A dangerous question to ask a vampire but apparently the old Romanian money didn’t tip him off. He takes Nadja back to his place and she has that second drink, disappearing before he even knows what happened.

But then she feels it: her father is dead. Van Helsing has staked him, and Nadja knows immediately that Dracula is gone for good. She experiences a sense of relief, the impetus for change she’s been looking for. But first, she has to risk a reconciliation with her estranged brother, Edgar, who for unknown reasons, wants to kill her.

Nadja was one of a slew of existential vampire films released in the early to mid-1990s. It makes a perfect double feature with Abel Ferrara‘s The Addiction (1995), which features a similarly impressive cast, set in New York City just before it drowned beneath a tide of Starbucks lattes. But while Ferrara focuses on gritty street reality, Almereyda’s style is more Pictorialist, providing impressions of a city that never seems quite real. It’s all about the atmosphere, the vampire as symbol, as philosopher, though these musings are delivered with tongue-in-cheek humor, preventing the tone from ever becoming too ponderous or heavy. The story follows the basic outline of Stoker’s plot, but Almereyda introduces additional entanglements and family secrets to a pared down cast of characters. Peter Fonda’s Van Helsing is the embarrassing drunk uncle of Jim (Donovan), a Harker-esque character whose marriage to Lucy is on the rocks. When Lucy catches Nadja’s eye in a bar, she unwittingly sets Van Helsing on the trail of Dracula’s children.

The ending sees the characters, somewhat improbably, whisked away to Transylvania, after some of them inexplicably survive an explosion, but don’t expect an action-packed, blood-soaked finale. The always lovely Suzy Amis delivers a moving monologue on humanity’s bereftness in the modern world, and Nadja finds the change she was looking for.

Nadja largely succeeds as arthouse horror through its unusual visual style and subtle surrealism, enhanced by the strengths of its cast. Löwensohn captivates as Nadja, and plentiful shots focus on her unique face framed by the dark folds of a hooded cloak. She and Martin Donovan were regulars in Hal Hartley’s early ’90s films, where both perfected the technique of delivering emotionally resonant lines with minimal modulation of voice and facial expression. Fonda provides much needed energy as a zany and eccentric Van Helsing. For fans of David Lynch, his brief cameo as a morgue security guard is a nice little bonus.

Arbelos Films recently completed a 4K restoration of a director’s cut approved by Michael Almereyda, which has just finished its run in select theaters and will see by a physical media release in mid-October.

WHAT THE CRITICS SAY:

“Stylish, eccentric and occasionally deliciously weird, it is a film for audiences who like their horror served with humour and their vampires with personality. With a runtime of under 90 minutes, for those willing to embrace its peculiar rhythms, Nadja reveals that even creatures of the night can have a sense of humour.”–Romney Norton, Dirty Movies (re-release)

Nadja

• Director Michael Almereyda and Executive Producer David Lynch conjure a rare vampire film.

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