The traces of Polanksi's "Repulsion" are hard to ignore here - notably in the ambivalent attitude of "Susan" toward hetero-normative sexuality that drives the plot of the entire film. Given the rather abrupt ending, I am not sure this film is up the caliber of "Repulsion;" but it is certainly very much better than its unfortunate English title would suggest. The symbolism may be heavy - daggers, crucifix poses, lilac gowns, female paintings in the basement - and the allusions to Freud and Jung obvious; but there is more than enough ambiguity here to make this film's approach to its subject-matter feel surprisingly contemporary.
There might be a temptation to compare this film to the Hammer Horror "Karnstein" trilogy from around the time period. But the introduction of Mircala/Carmilla "Karstein" as the Sapphic, and deeply psychological, element that seeks to upend the sexual order (and leads Susan astray in the process) takes us quite a bit of distance away from Hammer's more tongue-in-cheek approach to the horror genre. I was surprised at the relative complexity of this film.
There might be a temptation to compare this film to the Hammer Horror "Karnstein" trilogy from around the time period. But the introduction of Mircala/Carmilla "Karstein" as the Sapphic, and deeply psychological, element that seeks to upend the sexual order (and leads Susan astray in the process) takes us quite a bit of distance away from Hammer's more tongue-in-cheek approach to the horror genre. I was surprised at the relative complexity of this film.