(Carl Theodor Dreyer, 1932). Dreyer's most radical film concerns a confused young man (his producer) who stumbles across a conspiracy of vampires in a small European town. Actually, confusion is globalized: Vampyr has few establishing shots and many abrupt cuts. Some characters unexpectedly leave and re-enter the frame. Others are simply disembodied. Everything is unstable, nothing is ever really explained. Vampyr is uncanny not because of its subject matter, but because of its utter strangeness as film.
Sun., Jan. 11, 6 p.m., 2009
Get the This Week's Top Stories Newsletter
Every week we collect the latest news, music and arts stories — along with film and food reviews and the best things to do this week — so that you’ll never miss Village Voice's biggest stories.