deux orphelines vampires, Les






You say they've been blind since birth?

I don't think so.

They say that they could see

as little girls.

Something inexplicable happened.

They said that the colors

just disappeared one day.


They could no longer distinguish colors?

That's right.

They saw in black and white.

That's impossible.

Has anyone examined them before me?

But of course.

Their blindness is inexplicable.

But who are they?

We don't know.

They are abandoned children.

We know nothing of-

Here they come.

This is Dr. Dennery, my children.

He is a respected eye specialist.

The best perhaps.

Look at me.

Open your eyes wide.

- What is it?

- What are you doing?

You're moving too fast!

I'm scared.

Don't be afraid. I won't hurt you.

I am here to help.

You're right. They can't see.

I don't see anything out of the ordinary.

They're our little blind angels, you know.

We try to protect them.

Sister Martha

even neglects the other orphans a bit.

I should scold you, Sister Martha.

We all hope that one day,

a man of means -

a man from a good family-

will adopt them.

A man of science, for example.

A doctor who could look after them

and nurse them

and maybe one day -

With God's help.

Cure them.

A cure?

That would be marvelous!

We would be so happy.

Oh, that is impossible.

It is God's will

that we see nothing at all.

We must accept our fate.

Good night, dear.

Good night.

Good night, children.

Good night.

Perhaps you'll soon have

a wonderful surprise.

But hush.

God's will is a mystery.

Good night, little angels.

Dear Lord, I beg of you,

make it so that the good Dr. Dennery

adopts our little martyrs.

They are so dear,

so patient,

so innocent, so gentle.

How good it is to inhale our daytime.

To see, finally.

- See how clear the night is?

- Yes, I see.

I see!

The deserted countryside

beneath the moon.

And over there, in the cemetery,

that poor dog

searching among the graves.

A stray animal, abandoned.

- Shall we join him?

- Sure! Everyone is sleeping.

Sister Martha will be

making her rounds at 2:00.

We'll be back before then.

We came from under there.

Do you think we're dead or alive?

We're both.

And the memories?

Do you remember?

I mean before.

What We were before HOW.

A bit.

Images, with no beginning or end.

But I know that we both existed,

as we are now.

I believe that, before, we had a mishap,

and we died.

And we returned, as always.

The others -

the other deaths from before -

each time, we had a mishap.

Do you remember?

The two orphans we were,

and who died,

I feel like I see them, I hear them.

They're the ones who remember us.

Isn't that why we return each time?

Of course!

Others kill us. They kill us violently.

But we return.

Henriette, I don't believe

that we're only a dream.

Two orphans who incarnate into reality.

They can't understand that,

all those who hunt us down.

If they knew-

You know, Henriette,

if they knew that we're a dream,

they would love and protect us.

Because, that way,

they could dream about us.

That's not how it happens.

They find us out,

we have a mishap,

we are killed

and then we return.

- It's like a game?

- A strange game.

But who decides the rules of the game?

No one.

Everything simply is. That's all.

Nobody is responsible.

It's like that.

It's just the way it is.

Why are you crying?

I'm afraid that

we're going to be killed again.

So we will return again!

But what if we didn't come back?

What if one day things went wrong

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Jean Rollin

Jean Michel Rollin Roth Le Gentil (3 November 1938 – 15 December 2010) was a French film director, actor, and novelist best known for his work in the fantastique genre. His career, spanning over fifty years, featured early short films and his achievements with his first four vampire classics Le viol du vampire (1968), La vampire nue (1970), Le frisson des vampires (1970), and Requiem pour un vampire (1971). Rollin's subsequent notable works include La rose de fer (1973), Lèvres de sang (1975), Les raisins de la mort (1978), Fascination (1979), and La morte vivante (1982).His films are noted for their exquisite, if mostly static, cinematography, off-kilter plot progression and poetic dialogue, their playful surrealism and recurrent use of well-constructed female lead characters. Outlandish denouments and abstruse visual symbols were trademarks throughout his 'dark fantasy' career. Remarkably, in spite of their seeming high production values and precise craftsmanship, his films were made with very little money, and often under crushing deadlines. In the mid-1970s, lack of regular work led the director to direct mostly pornographic films under various pseudonyms, a process he kept on going up until the 1980s. more…

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Submitted on August 05, 2018

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