deux orphelines vampires, Les

Year:
1997
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TWO ORPHAN VAMPIRES

GLYCINES ORPHANAGE

GLYCINES ORPHANAGE

FOUNDED BY THE ABBESS OF SAINT-AUBIN

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.

Colors?

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

and we stayed dead forever?

Oh, well,

if such a thing happened,

they would dream of the two orphan girls

who could be reborn.

You hear it?

Right there.

There's a house with an open window.

Someone is listening to music.

You hear it?

If they see us,

they'll think we're ghosts!

But we are ghosts!

Come, come.

Yes, good dog.

I remember.

It was far away.

There was a bridge, I think.

Yes.

We were on a bridge.

The night was blue, like all our nights.

We weren't blind

because we could see blue.

It was the hour of the hunt.

What happened after that?

We had a mishap.

But before?

Before we died?

What then?

We drank and quenched our thirst.

Come, let's go.

There's no more music,

and we're alive in today,

not dead in yesterday.

You're right.

Sister Martha will

soon be making rounds.

Besides, in a little while,

we'll have forgotten our last death.

Come.

We are alive, and all the others,

it is they who are dead.

And you - do you remember anything?

Anything from before?

Close your eyes.

Do you see?

Yes.

Trains with voyagers,

with merchandise.

From here to infinity.

Yes, I remember as well.

I can see them too.

We are wanderers,

and our roamings are meetings

with creatures that are as strange as we are.

It was daytime, and we were blind.

We came from away, far away.

That's it.

Who was chasing us?

I've forgotten.

Then we found ourselves there.

Someone's there.

Who are you?

You don't speak?

Are you hiding too?

I'm from nowhere and everywhere.

If I haunt this train station,

it's because it is silent and solitary.

You know, I'm crazy.

Everyone says so.

Both of you also look a little crazy.

I was in one of their clinics,

but then I escaped.

You're blind, huh?

Not all the time.

Nighttime's coming.

We will see!

At night we see blue.

You think you see me now.

You see the madwoman

of the train station.

My reality is within.

They say I'm crazy

because I'm a she-wolf.

Do you bite too?

Do you transform into a werewolf?

An ordinary she-wolf, alone.

I'm so alone.

When there's a full moon,

the animal in me comes out.

People don't believe.

That's why they lock me up.

But the dogs know. They feel it.

They sniff the wolf,

their enemy, and they attack me.

Often, my stare

keeps them at a distance.

But sometimes

they scratch me with their claws.

That's horrible.

What do you do to escape them?

When there's one or two,

I slit their throats,

strangle them, break their backs.

But if there is a pack,

I find refuge in some place like this,

where they won't come.

You don't believe me. You neither.

You think I'm crazy.

Look what they did to me!

Do you think dogs

would do this normally?

No.

But to a she-wolf,

they're wild dogs.

See the full moon.

Listen now, to the she-wolf.

You'll never forget her.

Her cry of anguish and agony

will resound forever in your heads.

Dogs

They are -

I hear them.

It's me they want!

My scent attracts them.

We'll have to find

a new book for tomorrow.

I took one from

the mother superior's library.

- What is it?

- History of the Incas.

There are the serpent and bat gods.

Those gods - are they us?

Yes, us. You'll see.

There are human sacrifices.

People sacrifice themselves.

They let their throats be slit

just to please us.

- That would be so nice!

- Yes, it would.

Let's go to sleep.

Be happy, my children.

With God's love and the respect of

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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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