Radu Jude’s latest cinematic offering, a satirical take on the legendary vampire, unfolds with a peculiar ensemble of performers presenting a floor-show spectacle. One might wonder if Jude has truly pioneered “pop-up cinema.” The Romanian director is renowned for films that possess an unbridled, low-budget theatricality, evoking the spirit of Brecht or Fassbinder. His is a resourceful, improvisational style, seemingly crafted spontaneously from whatever materials are at hand, incorporating fragments of TV commercials, questionable AI generating dubious adult content (what he previously termed “loony porn”), and amateur dramatics featuring absurdly costumed actors.
Jude’s works often feel so immediate and transient, as if they are intended for a single viewing; a second attempt might yield only a blank screen, suggesting the director and his unconventional troupe have simply disappeared. This new film, notably lengthy, is a sprawling blend of slapstick comedy and moments of profound dullness, yet it is narrowly salvaged by its sharp, indignant satire. It purports to be about Dracula, or more accurately, centers on an arrogant filmmaker, portrayed by Adonis Tanta, who introduces his audience to the shoddy, AI-driven Dracula film he’s creating on his iPad.
Parallel to this, we encounter a boisterous group of actors performing a Dracula-themed routine, possibly in a restaurant setting. Veteran Romanian actor Gabriel Spahiu embodies an elderly, delusional performer convinced he truly is Dracula, while Oana Maria Zaharia captivates as Vampira, a seductive and vampish representative of the undead. This troupe engages its audience in unconventional ways, reportedly encouraging intimate interactions with cast members, or, for families, offering a playful hide-and-seek where viewers pursue the vampire actors into the urban landscape.