How A24 harkens back to the Surrealist greats of the 1930s.
The Big Picture The name Carl Theodor Dreyer is probably not familiar to the average moviegoer. A Danish auteur whose almost 50-year career produced only a dozen movies, he was an ambitious pioneer of early cinema who always wanted to push the limit. In a letter he wrote to prospective backers in his early career, he said, “I will make it my goal to produce a work of art which will set a standard for future films,” and in his own unique way, he achieved this.
'Vampyr' Is a Product of Early 20th-Century Artistry It is a remarkably adventurous piece of cinema far more in keeping with the emerging surrealist art film movement of its time; Luis Buñuel and Salvador Dalí teamed up for two iconic surrealist pictures, Un Chien Andalou and L’Age d’Or, while Jean Cocteau was exploring the avant-garde with The Blood of a Poet.
A Wealthy Aristocrat Financed 'Vampyr' So Dreyer had his idea, but what he needed now was money. Luckily for him, he happened to meet a flamboyant and very wealthy young socialite named Nicolas de Gunzburg. Up until this point, Gunzburg had lived a life of extravagance and leisure, attending and hosting lavish parties, enchanting guests with his skills as a dancer and raconteur, and rubbing shoulders with all the right people.
'Vampyr' Takes a Surrealist Approach to Horror Although you could never accuse Vampyr of being scary by modern standards, there is an uncanny otherworldliness about it that is unsettling, and it is always going for a subtle and stylish approach that defies the conventions of horror as it is known today. It is all about drawing on the deepest human fears and conveying them in creative ways that draw a visceral reaction from the audience.
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