DAUGHTERS OF DARKNESS 1971
SPOILER ALERT!
Daughters of Darkness has long captivated me because of its lush visuals, the provocative mood that it sets, and the haunting performances by the entire cast. It’s one of those cinematic gems I eagerly anticipate exploring in greater depth on The Last Drive In. The film’s layered narrative, gothic elegance, and subversive take on the vampire mythos make it a perfect candidate for a deep dive into its artistry, historical context, and enduring influence.
Celebrated for its aesthetic beauty and transgressive themes, Belgian filmmaker Harry Kümel’s Daughters of Darkness is a hauntingly surreal, stylish, and deeply atmospheric exploration of the sensually charged vampire subgenre. The film weaves gothic horror with psychological drama, creating a story that is both timeless and deeply rooted in the early high-art horror of the 1970s.
Reimagined through the lens of 1970s decadence and gender & queer politics, this Belgian erotic horror film, released in 1971, has earned its place as a cult classic. It stars Delphine Seyrig, whose standout role has to be in 1975’s Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles, where she gave an unforgettable performance as a widowed housewife in this iconic, slow-burn masterpiece by Chantal Akermanas. In Daughters of Darkness, she brings the enigmatic Countess Elizabeth Báthory to the indulgent afterlife. John Karlen (known for his portrayal of the tragic bedraggled Willie Loomis in Dark Shadows, the pivotal character who unwittingly unleashes vampire Barnabas Collins) as Stefan Chilton, Danielle Ouimet as Valerie Chilton, and Andrea Rau as Ilona.
The story begins with newlyweds Stefan and Valerie Chilton as they arrive at a nearly deserted seaside hotel in Ostend, Belgium, during their honeymoon. Their relationship is already fraught with tension—the brooding Stefan is controlling and sadistic, while Valerie is naïve and eager to please him. The couple’s honeymoon takes a sinister turn when they encounter the glamorous and ageless Countess Elizabeth Báthory and her mysterious companion, Ilona. The hotel concierge recognizes the Countess from decades earlier, remarking that she hasn’t aged a day.
The Countess quickly becomes fixated on Valerie, while Stefan finds himself equally captivated by Elizabeth’s dark allure. As the days unfold, she reveals herself to be the notorious Hungarian noblewoman Elizabeth Báthory.
Elizabeth Báthory draws on the legend of the real-life Hungarian countess who lived in the late 16th century. Accused of torturing and murdering hundreds of young women to bathe in their blood for eternal youth, Báthory became one of history’s most infamous figures. In Daughters of Darkness, Kümel reimagines Báthory as an immortal vampire who uses seduction rather than brute force to achieve her goals. This story has inspired countless vampire myths.
In this retelling, Báthory is a seductive predator who exerts psychological and sexual control over those around her. She becomes fascinated by Valerie and begins to manipulate her fragile relationship with Stefan. Meanwhile, Stefan’s violent tendencies loom larger—culminating in a shocking scene where he beats and rapes Valerie—while Ilona’s increasing jealousy over the Countess’s obvious interest in Valerie leads to her tragic death in a bathtub filled with blood.
The film reaches its climax when Stefan attempts to reassert control over Valerie, only to meet his end at the hands of the two women. His wrists are slashed during a violent altercation, and Elizabeth and Valerie drink his blood in a chilling moment of vampiric communion. In the final scene, Elizabeth and Valerie flee into the dawn, only for their car to crash. Elizabeth is impaled on a tree branch, but in a sinister twist, Valerie seems to inherit her persona. In the epilogue, Valerie approaches new prey at a tennis court, speaking with Elizabeth’s voice—a chilling twist and a haunting suggestion that the cycle of vampirism continues, much like how Susan Sarandon moves on after Catherine Deneuve’s final end in Tony Scott’s The Hunger 1983.
Eduard van der Enden’s cinematography is a visual feast; the use of saturated colors and striking compositions to create an otherworldly atmosphere – particularly deep reds – heightens the story’s sensuality and menace. The use of the color red fades between scenes, adding a surreal touch and definitely lending to the film’s dreamlike quality. Scenes often fade to red rather than black, emphasizing blood as both a visual motif and a symbol of power.
The seaside hotel serves as a perfect setting: its grand yet desolate architecture seems to mirror the characters’ isolation and moral decay. Kümel also draws inspiration from classic Hollywood glamour—Delphine Seyrig’s portrayal of the Countess Elizabeth Báthory evokes Marlene Dietrich with her sophisticated costumes and hypnotic presence while Andrea Rau’s Ilona evokes Louise Brooks.
François de Roubaix’s score further enhances the film’s dreamlike quality. Combining electronic elements with jazz influences, the music underscores key moments with haunting precision. Its synth-heavy sound feels ahead of its time, lending an eerie modernity to the gothic vibe of the film.
Several moments stand out for their visual beauty and lasting narrative impact. The Seduction of Valerie: The Countess slowly draws Valerie into her orbit with hypnotic charm, creating an atmosphere of sexual tension and excruciatingly taut psychological manipulation. Ilona’s Death: In one of the film’s striking moments, Ilona accidentally slashes herself with a razor during an altercation with Stefan—a moment that combines eroticism with violence as her lifeless body lies in a bathtub filled with blood. Stefan’s Death: The climactic scene where Stefan bleeds out while Elizabeth and Valerie drink his blood is both horrifying and cathartic—a turning point that solidifies Valerie’s transformation.
The film ends with a dramatic sequence on the dunes of Ostend, where the Countess meets her demise in a car crash. Elizabeth’s life is strikingly symbolic; impaled on a tree branch in sunlight, she meets an end befitting her vampiric nature.
Though initially polarizing due to its slow pace and unconventional approach, Daughters of Darkness has since been recognized as a masterpiece of erotic horror. At its core, Daughters of Darkness explores themes of power, sexuality, and identity. The film subverts traditional gender roles, queer identity, and psychological manipulation by presenting Báthory as both predator and seductress—an embodiment of female power that challenges patriarchal norms, and it feels remarkably modern, even decades later.
Delphine Seyrig’s magnetic performance as Countess Báthory remains iconic—a perfect blend of elegance and menace—and Kümel’s direction ensures that every frame drips with style.
In blending gothic horror with eroticism and psychological depth, Daughters of Darkness transcends its genre roots to become something truly unique: a meditation on power, desire, and immortality cloaked in blood-red elegance, sumptuous visuals, and haunting music. It stands not just as a great vampire film but as one of cinema’s most provocative explorations of human nature. Kümel’s direction combines surrealism with gothic sensibilities to craft a film that feels timeless yet deeply rooted in 1970s decadence. Hold a gun to my head, and this would make my top ten list!