IR Film Review: EL CONDE [Netflix]
The aspect of a vampire debating the textures of life from a very geographical point of view is unusual but with a director like Pablo Larrain, like Jim Jarmusch and Abel Ferrara before -- directors known for different kinds of films --- taking a swing at this idea/genre can produce both interesting results but also missed opportunities. The landscape in "El Conde" [Count] is definitely the film's friend but the texture that makes it fly at times is the essence of freedom and context that being a new vampire, once bitten, inspires. Most of the characters in "El Conde" are both seasoned and almost nihilist in certain ways. However it is one character, herself both a plant, a spy, a convert and a believer (in many ways) that is able to capture the essence of the film. Larrain, with his actors Natalie Portman in "Jackie" and Kristen Stewart in "Spencer" (as well with his upcoming film about opera singer Maria Callas starring Angelina Jolie) knows how to do this.
Netflix gave him the opportunity to make a genre film in his native language and in his native country which feels very freeing (like with Alfonso Cuaron in "Roma"). The specificity though might limit its commercial prospects. Some visuals specifically involving flying can be both entrancing and enthralling but almost humorous and ironic in a way -- which is sometimes intended and sometimes not. There is a plot twist beyond what might be considered normal at the end of the film here but it is not what one would think. The film also pays tribute to the essence of history speaking to these creatures of the night and their subjects as heretics that just happened to be in the right place at the wrong time (and took advantage of it).
Jamie Vadell plays the old vampire Pinochet with a bit of smirk in his side of a person trying to pull one over on his family but warning people to stay in their lane. Aldredo Castro plays his right hand man (a Renfield of sorts) but there is much more drifting below the surface (which is both alluded to and not). Paula Luchsinger is the wild card through no aspect of her own beyond instinct and tendency but brings it innately to light. The movie obviously has allegorical implications and is beautifully shot for the most part in B&W. Some scenes with night shots into the capital, over the mountains and specifically on a deserted compound are just stunning. The music sounds familiar but tempo structured which is meant to keep the cadence. The movie is not undeniably visceral but it does sit with the viewer after it is over. B
By Tim Wassberg
