Director: Harry Kümel
Screenplay: Pierre Drouot, Jean Ferry, Harry Kümel
Starring: Delphine Seyrig, John Karlen, Danielle Ouimet, Andrea Rau, Paul Esser, Georges Jamin, Joris Collet, Fons Rademakers
Country: Belgium, France, West Germany
Running time: 100 min
Year: 1971
BBFC Certificate: 18
Countess Elizabeth Báthory has inspired numerous films, from the likes of Hammer Horror’s Countess Dracula to a story in Polish provocateur Walerian Borowcyzk’s Immoral Tales.
These and numerous others have adapted the legend of the real-life Hungarian noblewoman who was either an alleged serial killer or victim of a witch-hunt, depending on which accounts you read. The legend that plays out in screen adaptations tends to portray Báthory as a vampiric character who bathed in the blood of virgins to stay young.
Arguably the best film inspired by her legend is Harry Kümel’s magnificent 1970s Belgian horror classic Daughters of Darkness, which is the subject of a fabulous new release from Radiance Films, and of this review.
The film follows newlyweds Stefan (John Karlen) and Valerie (Danielle Ouimet), who make a detour to a seafront hotel in Ostend, Belgium, whilst travelling through Europe in winter.
There they encounter the enigmatic Countess Elizabeth Báthory (Delphine Seyrig), and her mysterious companion Ilona (Andrea Rau), who appear one night, and seems to have a seductive and erotic hold over the couple. Meanwhile, the area is beset by a number of unexplained murders, particularly centering around nearby Bruges.
What plays out is a masterful Euro-horror, and a very interesting vampire tale and take on the Báthory story. The vampiric elements are on the periphery for much of the film, but there for those who know their vampire-movies: longer looks at throats, newspaper headlines, a cape, blood seeping down a neck.
The film started life as a risqué period exploitation film and certainly contains its share of sex and naked flesh, but Kümel has made it so much more than that and it subverts the vampire film, horror genre and skin flick.
As well as being seen as a vampire film, it can be read as a film of a woman (Báthory) helping another (Valerie) escape from an abusive marriage; the couple may be newlyweds, but their romance seems to already be floundering, with Stefan an abusive husband. This violence is triggered by a phone call to his ‘Mother’, whom Valerie wants to meet. ‘Mother’ is played by Fons Rademakers, and is seemingly Stefan’s male lover.
Whichever way you read the film, it’s quite simply a masterpiece; beautifully filmed, rich in atmosphere, and impeccably acted by all concerned. Seyrig is simply mesmerising as Báthory, dressed to the nines and inspired by the look of acting and singing icon Marlene Dietrich. Seyrig commands attention every time she is on the screen and seems to have a hold over the other characters she meets.
She plays the Countess as a seductive character who controls those around her, a powerful aristocratic who gets what she wants. She’s particularly good in an early seduction scene that plays out over drinks in the hotel sitting room. It’s a fabulous sequence.
Kümel apparently would only make the film with Seyrig, and it is easy to see why based on this performance, pitched just right with her character controlling and manipulating everyone and everything like a puppeteer.
Meanwhile, Karlen and Ouimet play the newlywed couple well, initially enamoured with each other, yet this love gives way to stress, strain and violence. It is unsurprising how easily the countess can come between them.
Rau plays Ilona in a very eerie way and her looks seems to have been inspired by the silent icon Louise Brooks. She’s like a lovesick puppy for Báthory, and has some powerful sequences with the character of Stefan too.
The Belgian seaside looks suitably foreboding, and the hotel is a character in itself, opulent and majestic, yet barren and lonely: aside from the staff, the four main characters seem to be the only ones staying there.
The costume design is sublime, particularly those worn by Báthory. Use of the colour red is particularly striking; from Báthory’s red lipstick, to screen dissolves between scenes, and featured throughout thanks to either blood, costumes, carpet and, of course, the deep red vintage Bristol car the countess drives. Other colours are relatively muted in comparison.
The cinematography by Eduard van der Enden captures all of this costume design perfectly, as well as the brilliant production design, and there are some very interesting shots and moves throughout.
The score by François de Roubaix helps build the atmosphere and is pretty creepy at times, and memorable throughout.
In conclusion, I absolutely loved Daughters of Darkness on what was my second viewing of the film. It’s a fantastic piece of cinema; an incredibly layered film that is ripe for rewatches and offers multiple readings, with plenty of themes and symbolism, a great cast, an atmospheric setting and beautiful costumes, make-up, production design and cinematography, all that leave a lasting impression.
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Daughters of Darkness is released on 27th October 2025 on a dual format 4K UHD and Blu-ray edition and separate Blu-ray only edition. Both are limited editions. I reviewed the dual format edition, which contains the film and audio commentary on the 4K disc and the film and all extras on the Blu-ray disc. The film looks phenomenal for the most part, with some of the night and location sequences looking a little bit softer. But overall the film looks outstanding with a rich level of detail and natural grain and a very filmic feel throughout. It also sounds excellent; every word of dialogue, sound effect and chord of music comes through with clarity.
4K UHD and Blu-ray dual format limited edition special features
4K restoration from the original negative by Blue Underground, approved by director Harry Kümel
4K UHD with Dolby Vision HDR and Blu-ray presentation of the feature
Audio commentary by authors Virginie Sélavy and Lindsay Hallam (2025)
New interview with director Harry Kümel and critic Anne Billson (2025)
Archival interview with Delphine Seyrig in which the actor discusses her career (1989)
On-set footage with Harry Kümel and stuntman Thierry Hallaert (1970)
Behind-the-scenes footage of Delphine Seyrig shooting a scene from the film and an interview with Harry Kümel (1971)
Interview with critic and author Kim Newman (2025)
Immoral Tales: Daughters of Darkness, Class, Cruelty, and the Cinematic Legacy of Bathory – a visual essay by Kat Ellinger, author of the monograph on the film (2025)
Anna the Maid – Harry Kümel’s short film based on a Jean Cocteau poem about a murderous maid (1958, 5 mins)
Aether – Harry Kümel’s short film about the surreal visions of a man following an accident (1960, 7 mins, co-directed by Herman Wuyts)
Limited edition 80-page perfect bound booklet featuring new writing by Suzanne Boleyn, Martyn Conterio, Joseph Dwyer, Alexandra Heller-Nicholas and Mairéad Roche
Limited edition of 5000 copies, presented in rigid box and full-height Scanavo packaging with removable OBI strip leaving packaging free of certificates and markings
Virginie Sélavy and Lindsay Hallam’s new audio commentary is absolutely marvellous. I’ve heard both of them on extras before but it’s the first time I can recall hearing them together in a commentary. The pair start by talking about the importance of the film to them, and then cover the background to the making of the movie. They highlight scenes, including the strange timing of the film for a wedding, the themes, context, those in front of and behind the camera, the background to the Báthory legend, and much more. It’s a great mixture of background and analysis.
The 31-minute interview with Harry Kümel and critic Anne Billson sees the director return to the Thermae Palace Hotel in Ostend where the movie was filmed. Billson shares how the film changed her life and leads a marvellous interview with a warm and engaging Kümel. The wide-ranging discussion covers the background to the look of the characters, the car in the film, vampire films Kümel was familiar with (for example, he wasn’t a fan of Hammer films at the time they came out), the layers of Daughters of Darkness and much more. It’s a brilliant piece.
An on-set section contains two short features, both television reports originally broadcast on Belgian TV at the start of the 1970s. The first looks at a crash scene directed by Kümel for the film and runs for three minutes. The second runs for 10 minutes and sees Kümel directing an interior scene in the movie. Both are in black and white and feature brief interviews with Kümel.
These are welcome additions, as are a 1989 TV interview with actor Delphine Seyrig which runs for 27 minutes and sees the actress on fine form. It’s a good interview, which is easy to watch.
Kim Newman provides a wonderful 28-minute look at the film in the context of other vampire films in a brand new interview. It starts with F.W. Murnau’s silent masterpiece Nosferatu, before moving through Universal’s Dracula, Hammer Horrors and beyond. Newman explores why there may have been an explosion of vampire films in the 1960s and 1970s and touches on films from different parts of the world, and TV. A typically fantastic piece from Newman.
Kat Ellinger also provides her usual well informed, perceptive and well researched insight, this time looking at the film, Elizabeth Báthory and more in a 25-minute visual essay. Ellinger’s piece is first class, covers other films based on Báthory and how Daughters of Darkness subverts this and other films in the vampire subgenre. She also looks at class, covers other films of the era and much more. I really enjoyed this one.
Two colour short films from director Harry Kümel are also included to round out the on-disc extras. The first is called Anna the Maid. The five minute short from 1958 is based on a Jean Cocteau poem about a murderous maid. It features some neat and stylish flourishes involving cross exposures and interesting colour schemes. The spoken word plays over silent footage. It’s an interesting watch.
The second short film, which Kümel co-directed with Herman Wuyts, dates from 1960 and is called Aether. Running for seven minutes it focuses on the surreal visions of a man following an accident. Like the first short, this is very experimental and goes into some very surreal territory. This one is silent except for a rhythmic beat that drives it forwards. It’s another intriguing short.
The 80-page booklet is absolutely brilliant, with five excellent new essays. They all add richness to the experience of the film and provide useful context and analysis.
In conclusion, Radiance have provided a candidate for end of year ‘best of’ lists with a fantastic edition of the masterpiece Daughters of Darkness. The audio visual presentation is fantastic overall, and Radiance have provided a wealth of new and archival extras, headlined by an ace new commentary and new pieces by Kim Newman and Kat Ellinger, supported by two of director Harry Kümel’s short films, archival interviews and a typically well appointed 80-page booklet.
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