It is fitting that the first good film that makes AI sensibly into its aesthetics should act from an undead blood sucker who feeds on humanity to be alive. And yet for a three -hour film that begins with a choir of computer -generated Vlad, stare at the impales that stare into the camera and demanded that we suck their cocks, Radu Jude is happy “”Dracula”Proves much too expansive and much too in the centuries of barbarism, which ebets the way into the Silicon Valley, in order to be misunderstood against the grotesque of the algorithmic image as easy reproduction.
Jew is a scholarly man of the people whose hypercovery intellectualism only corresponds to his chaucer-like vulgarity, and his work has long been enjoying a shabby fascination for the relationship between art, work and technology. In this light it should not surprise that the guy behind the sweeping goods like “Don't expect too much from the end of the world“And” Pech Bangs or Loony Porn “has a certain level of affection for a tool that threatens to improve everything that keeps the arts sacred.
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A quasi-picaresque anthology about an unnamed director (“Continental '25Outstanding Adonis Tanța), who relies on a Transylvanian bot to save his new vampire film afterwards only “Dracula” deserves an approval of 80 percent of its latest test audience and offers Jew a completely stupid excuse to trigger AI for the cinema, the literature and the history of a civilization that had been eaten from Chatgpt for a century or longer before Chatgpt came online.
Here is a film that is in its ugliest and most aspiring form with AI image macking to argue that it really is nothing new is the cannibalic appetite and the tasting taste for use, which makes this technology an honest expression of the culture that it has created. As a bare man once said: the World is a vampire (sent to drain). With “Dracula” Jew makes a funny and wild free wheeling case that it is now so shit in a similar way not Changes as for what threats to change in them.
Nevertheless, it would be a mistake to exaggerate the role that Ki plays in Jude's Anarchic Hodgegepodge. The technology is of central importance for this project as well as for the alleged author of the 14 segments, the circulation history and the Framing device of the film, but “Dracula” mainly relies on algorithmic corners and molds to smear to eat analogy examples of the past to use images.
Rotated on an iPhone on an iPhone and in the local inclination of his film (there is an inherent humor for the idea that Jew's most famous legend of his country is concerned with such careful terms) and “Dracula” back to this mission if it threatens too much into misunderstood. That is often.
It depends on a run -down theater in the heart of the Transylvania tourist district, in which the director – Tanța –Present Not Juden-an urgent, impressive show that essentially bastarded the legend of Vlad, the impaler, what the audience wants. Whatever it means to make Dracula great again.
Jew wastes no time to make fun of the Appeal Madness mass, try to create something for everyone. A group of American vacationers can be seen in the crowd with their children. The large guy who sits near her carries his clothes back and carries the tattoo of a face on the back of his skull. A European woman has now only come to train her kinking and jumps the chance to offer a backstage tryst with the sleeping old man who plays the immortal vampire (Gabriel Spahiu as Sandu). So that someone has not imagined that Jude's film would offer a more awesome view of Romanian history, the sight of this naked theater visitor, the “Lick My Muschi, Dracula!” The impotent actor behind her legs should be enough to calm down such thoughts.
Finally Sandu and his Topless co-star (Oana Maria Zaharia as a otherwise unnamed “Vampira”) flee the last act of the show on the city square, and the audience chased them with pitchables and torches. One evening, however, the two actors conspire to take a break – to remain hidden from the horde of the paying customers, to escape the exploitative conditions of their work and use their lean income to found new life in another country. In return, the director of the show invites his audience to really kill his line -up. A serious gambling from his side when Elon Musk and Donald Trump allegedly booked their own private performance for the following month.
“Dracula”1-2 special
Tanța's character sits at his desk and speaks to the camera in the segments of the individual film. He realizes that we are curious about the fate of Sandu and Vampira. In the meantime, he asks himself by asking his AI bot to mock a large number of Dracula riffs, most of which – the functionality of AI – from previous assumptions in history and/or the published stories that they have taken up as part of their creation are together.
You use the public status of FW Murnaus “Nosferatu” to stream footage from this vampire classic, only so that the clips with Internet detritus such as pop-up ads for peniseng operations and the like are towered over (it is a rare author used). Another encounters rights problems when he tries to summon the multiplex eroticism of Francis Ford Coppola's “Dracula”, and forces the director to create this fever designed by Eiko Ishioka with a nightmare-inducing AI orgy, the bloody new gender family in every fold of human housing. Later the director asks to see Vlad in the style of Samuel Beckett or Carl Theodor Dreyer, which leads to a silent (ISH) short, in which the vampire Dr. Caligari DDS visited
Most vignettes tend to dig a little deeper than mere interest settlement and in-jokes, even if they are not much higher. The first short, cheeky “Eutrophia” (a term that describes the process through which a body, usually enriched water, excessively enriched with nutrients) is determined in a rejuvenation clinic that was built during their golden years as a youth hospital during their reign of Ceaușescu. A wheelchair mode that is new to the facility is spoiled with a demonstration of some old Romanian films when things suddenly “Sherlock Jr.” go. on her; The next thing she knows, Vlad The impaler stands in front of her in the meat and demands an exchange of liquids: he will drink out of her neck and she will give him a blow. I assume this is a way to stay young. Or two.
Elsewhere, the hunger of the past after the present and the disinterest of the present in the past in the strangely delightful episode is explored in which a VLAD in children returns to his house, only to determine that it was renovated to a museum whose tour guide has little patience for the interruption of children. Jude later converts the script with a relatively dry and duty-conscious adaptation of Nicolae Veleas Romania-famous novel “Just so” in order to spoil the tragic emotional climax of history with a strange bad service of gene Ai slop. I am not sure whether the punch line is about 30 minutes to be set up (refreshing, since Jew works for a while in a classic mode), but you can say with certainty that nobody will ever accuse the filmmaker to take himself too seriously, since he is now the most visible in his country.
Of course, Jude's Ascendency has long been fired from his willingness to seek for absurdity in the absurd. Forced by the permanent wildness of a modern world that has developed itself as the gravestine on which it was built, its films have ultra-referential for the past, how they are indifferent, at a time when the history is written by the same people who are most determined to extinguish it. How Wittgenstein is cited here: “The thing with progress is that it always seems bigger than it actually is.”
This term is pronounced in a segment that is most pronounced on the Marxist concept of “dead work”, most pronounced. undead in this case. It is called “the capital” and finds Vlad, who is brought to life as a ruthless capitalist CEO of a player, whose employees relax with the employees to sell their rising accounts to lazy American players. (One of these employees is played by Ilinca Manoloche, Star Ilinca Manoloche, that of the over 100 actors who switch to a variety of different parts throughout the film.)
This ridiculous vignette is on site of a famous 20th century working dispute, but in front of a backdrop of MMORPGs and xenophobia of MMORPGs and xenophobia from the Twitter era complete with Tanța as a boot-loving-c-3po-the logical highlight of a film that leaves both Umberto Eco and Britney Spears for the name. In A Far More Pointed Way Than The Film's Stolid 50-Minute Re-Creation of Romania's First Vampire Novel, Or the Similarly Overstretched Later Chapter that Offers A Bawdy Folk Tale Inspired by the Author Ion Creangă (IT Starts with Jesus, and Ends With Manoloche Being Pleasantly Terrorized By a crudely animated flying dildo), “The capital” collapses the distance between high and low, history and its end. The only distinction that counts in the end is what is alive and what is not, and Judas terrifyingly intoxicating “Dracula” makes an effective case that it only becomes more difficult to recognize the difference from here.
Class: B+
“Dracula” was premiered at the 2025 Locarno Film Festival. 1-2 Special will publish it in the USA.
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