Synopsis: This erotic horror film, set in 1905, tells the story of a thief who seeks refuge in a castle owned by two women, Eva (Brigitte Lahaie) and Elizabeth (Franca Mai). The women are seductive and teasing, but turn out to be part of a vampiric cult of blood-drinking aristocrats.
80 min

Thank you.

Do I really have to drink

the whole glass?


Today, in April 1905,

we find it's the best way to cure anemia.

Drink, my dear,

it will bring back your color.

It's only ox blood after all.

Yes, but look at this man

who slaughters for a living

and breathes in

the smell of blood.

It's not a game, young lady.

It's a therapy.

I hope you're satisfied.

The information was correct.

This man was carrying... gold!

We'd like to see this gold,

right now.

Right, let's split up now

and meet again in a month's time.

One month will give me time

to negotiate in London.

That's not quite how I see it.

Me and my mates

would like the cash straightaway.

You don't trust me?

No, not really.

Open the bag.

I'm taking the girl with me

as a hostage.

Don't try to find me.

And afterwards, will you kill her?

If you lay a finger on her,

you're dead.


I'll let her go afterwards.

No, don't leave me. He'll kill me

as soon as your backs are turned.

Shall we all jump on him together?

Too risky.

If you try to disappear,

we'll find you.

Don't move.

She's crafty, she'll get away.

You want to finish me off, don't you?

Of course not. Be sensible.

I'm not a killer.

I'm not like your cohorts.

We're going to head

towards the coast,

and then you can take off.

Is it far?

Two days' walk,

unless you see a car.


Take me and let me go.

You swine!

There he is!

Catch him!

- He's in there.

- Follow him.


Better to wait

until he thinks he's safe.

I won't do you any harm

if you show yourself

I know you're in this room.

Who are you?

A chambermaid?

I'm lady-in-waiting to the Marchioness.

What's your name?

How many servants are there here?

I'm the only one.

No, I've just seen someone else.

That was Elisabeth,

the Marchioness's companion.

I swear that we're alone

at the moment.

The cook and the servants

arrive tomorrow

with the Marquis and Madame.

They're all away in Paris.

We've come to clean up

and get Madame's room ready, but -

It's no good. They're too far away.

Be patient. We've got him.

Right, now I want the truth!

How many of you are there

in the chteau?

Just us.

The other servants don't arrive

until tomorrow.

The chteau should be closed,

but we pretend it's ours.

That's why we came first.

Take whatever you want.

But don't hurt us.

We won't say a thing.

Don't be afraid.

I just want to hide until dark,

then I'll go.

You're going to take me

to your room now, please.

Come on, you go first.

I see I don't frighten you any more.

We even find it rather amusing.

In spite of your big gun.

You haven't come to rob us,

have you?

What do you want

from two poor girls like us?

Defenseless and at your mercy.

- I beg you not to kill us.

- You can rape us.

I offer you my virginity

in return for my life.

Do with me whatever you wish,

but spare this child.

I beg you, Mr. Bandit, don't kill us.

Is the show over?

What are you doing?

I just wanted to kiss you.

All the doors have two keys.

The spare for my bedroom

was in the bedside table.

Now I need an explanation.

Lady-in-waiting, or companion.

I want to know right now who you are

and why this chteau is deserted.

We can ask questions too.

Who is chasing you, and why?

Except that it's me who has a gun,

and it's me who gives the orders.

You no longer have your gun.

We've taken precautions.

Look. We have a little surprise for you.

Our weapons are silent.

There are two of us, you're all alone.

- You're in our power.

- Your life is in our hands.

The gold coins in your bag.

What shall we do with him?

You mentioned wanting to rape him.

Why not? He's a good-looking boy.

Don't provoke me.

What do you take me for?

Did you really think I'd let you

get away with that and not do anything?

It's not for two little girls like you

to lay down the law.

The show's over.

You're charming.


But I've got work to do.

Excuse me,

I'll leave you now.

Your enemies can't be far away.

That's true.

You had better wait until dark.

It would be safer.

Why not here?

Don't do that.

What's your friend Elisabeth going to say?

But Elisabeth doesn't care,

do you, Elisabeth?

Of course not.

It's all the same to me.

Trust us.

We could have got away

and raised the alarm just now.

Come into the next room.

We can make up some punch,

and there's a fire in there.

Later, when it gets dark,

you can leave if you like.

Come and I'll tell you why we sent

all the staff away from the chteau.

When it gets dark, you'll know

why the two of us are here alone.

It's too late now.

You've stumbled into

Elisabeth and Eva's life.

The universe of madness and death.

It's a pity.

I think I could have loved you.

You know I only did it

to stop him leaving,

to keep him here till dawn.

I was playing with the gun

and it went off.

This time I'm going.

The shot will certainly

have been heard outside.

Is there a back way out?

We're surrounded by water.

The bridge is the only way out.

We're trapped.

- When do the staff come back?

- Not for two days.

But at nightfall -

A few friends will be coming.

We don't want the staff around

while they're here.

Nobody must know

who's coming tonight.

It's all very melodramatic.

I don't care which

mysterious lover you're expecting,

I have to get out of here.

I think there's an old boat.

We could use it

to escape to the other side.

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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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