This erotic vampire film features a young man on a strange quest after recognizing a castle on a poster. He seems to remember the castle from his childhood and eventually finds it with the aid of a strange woman dressed in white. It turns out that his family has been keeping the secret of vampirism from him.

Also Known As: Lips of Blood, Lèvres de sang, Кървави устни, Окровавленные губы Soviet, Aima sta heili ton parthenon, Heili pou estazan aima, Jennifer, Suck Me, Vampire, Matomena heili, Suce-moi vampire

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  • willie-bradley
    willie bradley

    This erotic vampire film features a young man on a strange quest after recognizing a castle on a poster. He seems to remember the castle from his childhood and eventually finds it with the aid of a strange woman dressed in white.Where does Jean Rollin get his locations? Because I am pretty sure he used the same fence in the water from a previously film. Is this his own private shooting set? Or what? Also, for those of you who have seen the many naked women in his films and were asking where the naked men were, this might be the film for you. I mean, there is only one, and you have to squint, but he is there.

  • amphitrite-tole
    amphitrite tole

    Frederick, a man with no memory of his childhood, attends a party at which he sees a poster of some ruins which stirs, what he believes to be, memories his youth. He seems to recall meeting, and falling in love with, a young girl at the ruins 20 years previously. His mother dismisses the idea, angering Frederick who sets off to see if he can track down the ruins in the poster. His searching takes him through the dark, desolate streets of Paris where he accidentally sets free 4 vampire women who seem to protect him on his quest. All the while he is seeing or having visions of the young girl from years ago……. This being a Jean Rollin film, the expected dodgy acting and plethora of gratuitous nudity is firmly in place but does not distract from the weird and wonderful goings-on. The themes of lost childhood, memories and dreams are fused together creating what comes across as a filmed nightmare as Frederick roams the Parisian streets, searching for something he doesn’t know how to find. The ending of the film is bizarre, beautiful and touching all at once. I loved it.

  • ivana-barkovic
    ivana barkovic

    When I received my DVD copy of Lips of Blood, it took me half a year before working up the courage to block off 90 minutes for viewing. The DVD cover had me intrigued all right with a naked dead woman sitting on some kind of rock wall by the water, but being a vampire film released in 1975, I knew I had to be in the mood. Nearly six months later, the mood hit and I plopped Lips of Blood into the Blu-Ray player on a cold Friday night.As the film starts, I was beginning to envision the experience to something more like a Mystery Science Theatre viewing. There was dry dialogue at a cocktail party and the opening scene where two men bring two covered bodies down to some kind of cellar seemed more laughable than anything worthy of attention.But then Lips of Blood began to grow on me, and by it’s conclusion I was thankful for this unique and atmospheric work.Lips of Blood centers on Fredric (Jean-Loup Philippe), a man who is both obsessed and beset by a picture of a landscape that reminds him of his youth. Frederic can remember the castle in the picture and he begins to have other memories of the location such as a woman for which he will spend most of the film searching.Frederic’s obsession leads him to a cemetery where he opens multiple coffins unleashing female vampires onto the streets of Paris. It also leads him to being taken away by doctors and forced into a straightjacket – that is, until two of the female vampires come to his assistance.Frederic’s obsession with female and the photo bring him to the brink of insanity and he finds himself hospitalized and put into a straightjacket for a short period of time until rescued by two female vampires that he unleashed unknowingly the night before Most of Lips of Blood has Frederic running around the streets of Paris tracking down his childhood memory while naked women parade across the big screen biting unsuspecting victims (God Bless you, director Jean Rollin). In fact, at a very brisk 87 minutes, Lips of Blood has enough full frontal nudity to do two or three of today’s standard Hollywood horror flicks (again, God Bless you, director Jean Rollin) To enjoy Lips of Blood as much as one should, you really must have an appreciation for 1970’s cinema. Set design was only a suggestion and the wardrobe is downright embarrassing (Frederic runs around with a padded shoulder and elbow sweater). But that doesn’t stop Lips of Blood from being both impressive and erotic. It is distinctive and moody and it transported me back to when I used to sit in front of an old RCA television on Saturday afternoon trying to get ariel feeds on channel 24. It is a simple vampire film that tries to be nothing more. And sometimes, this is the best approach to providing the viewing public with some worthy entertainment.www.robertsreviews.com

  • julia-van-der-noot-van-velzen
    julia van der noot van velzen

    Jean Rollin’s typically outré, dreamy, and deliberately paced film deserves appraisal for attempting a fresh and lyrical spin on the usual bloodsucker premise, but the occasionally too draggy and meandering narrative and a bland central performance by Jean-Loup Philippe as the obsessive Frederic who’s determined to figure out his dark family past prevent this movie from completely working. Fortunately, Nathalie Perrey’s stand-out portrayal of Frederic’s protective mother compensates for Philippe’s insipidness in the lead. The beautiful Annie Belle is properly bewitching as Jennifer, the lovely and mysterious lady who haunts Frederic’s memories. Comely blonde real life twin sisters Catherine and Marie-Pierre Castel are quite sexy and stunning as a couple of vampires Frederic accidentally unleashes into Paris. Moreover, Rollin makes good use of natural locations (the ruins setting in particular is very creepy), does his usual ace job of creating and sustaining a pleasingly surreal and spooky midnight-in-the-graveyard misty atmosphere, and pulls off a strangely poetic and surprising final scene that’s both haunting and touching in equal measure. Jean-Francois Robin’s rather plain and grainy cinematography offers a handful of strikingly eerie images. However, the opening third is much too padded and poky and the more trashy explicit elements like gratuitous distaff nudity are jarringly at odds with the overall artiness and offbeat fairytale-like quality of the picture (for example, a sequence with a lady photographer and her nude model is simply tossed in for the sake of cheap titillation and adds nothing to the story). Imperfect, but still a praiseworthy entry in the vampire horror sub-genre.

  • dr-tommy-ahmed
    dr tommy ahmed

    Horror mixed with surrealism is not for everyone, but to those who enjoy the mix, Jean Rollin is a master. He makes low budget films, but he adds rich color and fascinating aspects that make you forget that.Frédéric (Jean-Loup Philippe) is running through the streets of Paris trying to find s castle seen in a photograph. What he will eventually find may not be what he was looking for.But, along with the photograph comes a vision of a woman, Jennifer (Annie Belle). He is haunted by this specter and, assisted by two vampires (twins Catherine & Marie-Pierre Castel) who remove obstacles from his path, eventually finds her.Where does it go from here? Atmospheric and erotic, it is a film that will remind you of the classic vampire tales.

  • david-stewart
    david stewart

    A photograph of a castle, ominously overlooking the ocean, waves crashing onto the rocks beneath brings back long buried memories of first love, and the castle itself, in one rather dull man’s childhood.Compelled to find the castle, and a girl from the same time of his youth who protected him. The nude girls at the photographer’s might have been tossed in at the last minute just to add more nudity and pad out the run time, but it has a bit of a surreal, trashy, “Where the hell did that come from?” feel to it. As do the bats in coffins in underground chambers beneath a Gothic cemetery.Vampire girls, wearing flowing, nearly transparent wraps, almost sleepwalking through the cemetery late at night is another surreal touch; the tall blonde in purple (who is this actress?) is remarkably beautiful.Here is another film, like Rollin’s Le viol du vampire, in which is almost best to not concern oneself with the plot or acting in this erotic Euro horror, but just sit back and enjoy the visually striking, colour-saturated photography in cemeteries and fountains, and nearly nude girls slowly walking through the cliff-side castle.

  • cleros-leone
    cleros leone

    “Lips of Blood” has a great narrative hook. Frederic vaguely remembers a dreamy encounter he had as a child. While staying at an old castle (Of course), he spent the night sleeping in the arms of a beautiful woman. Upon spying a photograph of the castle, the memory comes rushing back. He becomes obsessed with finding the girl, especially since she starts appearing to him in visions. A trip to an old tomb doesn’t yield anything but coffins full of bats… Or so it would appear. Vampire girls, dressed in colorful see-through shawls (Of course!), emerge from the crypt and begin to feed across France. A man attempts to assassinate Frederic. It becomes obvious there’s a conspiracy preventing him from finding the old building and reuniting with the girl of his dreams.Narratively, the film is more focused then usual. Pacing-wise, it’s still a mess. Scenes drag into each other. The long opening sequence is so soft that the next scene, a fairly explicit nude modeling session, throws you off. Moments of the vampires attacking people seem unrelated to Fredric’s quest. A scene of a woman leading him into a room with promises of revealing the castle’s location doesn’t have much to do with the story. The vamps help him out at least once but we never find out why. I like the mustachioed assassin, even if it’s a bit out of place in this horror love story, but that storyline isn’t resolved either. Generally speaking, the subplot about the legion of vampire girls never meshes with the main storyline. It seems like a blatant excuse for Rollin to insert his fetishes into the film. I mean, more so then usual.The worst part? There aren’t that many memorable visuals. A shadow of a statue of a bull is the only striking pure image I can remember. Some memorable scenes arise. A pair of nurses pulling down their surgical masks to reveal fangs is darkly funny. The vampire girls weigh a victim down in chains before kicking her up a flight of stairs. Hilariously, during a particularly windy night, a purple dress billows up into a girl’s face. I doubt that was intentional.When the focus is on the love story and the conspiracy, that’s when it works. Jean-Loup Phillippe gives an excellent performance as Frederic, especially in a scene where he pleads with the girl’s spectre to prove she’s real. Annie Briand is enchantingly beautiful as the strange girl at the story’s center. It’s easy to see why she would inspire such obsession. Natalie Perrey as Frederic’s mother delivers exposition but her performance makes it go down easy. The scene of the arrant vampire girls being exterminated is nicely brutal, such as two girls being impaled on the same stake, but also obviously elegiac. Rollin loves his monsters and hates to see them slaughtered.That monster love shines through in the lengthy epilogue. Following an obvious slight-of-hand, the protagonist is reunited with his love. They frolic on the director’s favorite beach (Of course!!) and make love, before she bites him, turning him into a vampire. The nude lovers float off, where they live in vampirey bliss happily ever after. Aww. “Lips of Blood” is a muddled affair even if Rollin’s strength for romantic sincerity and some strong actors keep it afloat.

  • susanne-briand
    susanne briand

    Having only seen the beautiful poster of “Lèvres de sang” during my teenage years of fanzines, I was curious and a bit eager to finally get the chance to watch it. It has surprised me in two differences that I found regarding previous and later Rollin movies: 1) we get to follow the male protagonist’s point of view most of the time, and 2) the first half of the movie is shot in a city or at least a large town, as opposed to the early cult classics of Rollin (“Le frisson des vampires”, “Requiem for a vampire” etc.), though towards the ending the plot moves on to the good ol’ ruined-castle-inhabited-by- naked-lesbian-vampires and rocky deserted beach kind of settings.As the story develops from the male protagonist’s point of view, the movie seems to me more entertaining, it has a faster-moving path than other Rollin movies. In the story, a man becomes obsessed with a picture of a castle in ruins that is somehow connected to vague remembrances of his childhood. He lets go of himself to find some clue that guides him to the place in the picture and in his mind. Some murders take place, and at this point the movie reminds a good deal of an Italian giallo, in the stylish way they happen, but just at this point, as the plot gives the Rollin twist on its closing, which is somehow slower than the rest of the film but again beautiful, in its macabre way.We must remark the elegant soundtrack, with predominant wind instruments and violins.

  • hannah-page
    hannah page

    While at a party, Frédéric (Jean-Loup Philippe) notices a photograph of a ruined castle that triggers childhood memories of a mysterious, attractive young women. Intrigued, the young man sets out to find the castle and the woman who resides there, his quest aided by four female vampires.When a director’s work is referred to as ‘dream-like’, I usually take that to mean ‘pretentious’ and ‘confusing’. Jean Rollin’s Lips of Blood is, at times, both of these things, and yet I still found myself liking the film to some extent. It certainly doesn’t hurt that Rollin sees fit to fill Lips of Blood with naked and semi-naked Euro-totty, but I also enjoyed the overall surreal ambience, where nothing is predictable.As far as the nudity is concerned, viewers are treated to a photographer’s model (Béatrice Harnois) in nothing but knee high boots, the photographer herself (Martine Grimaud) in the altogether, the four vampire ladies wearing nothing but billowing chiffon (they’d catch their death, if they weren’t already dead), and the young woman Frédéric is searching for – actually a vampire called Jennifer (Annie Belle) – stripping off at the end of the film. Jean-Loup Philippe gets his tackle out to keep things fair.The weirder stuff includes a would-be assassin with a Jason King moustache who tries to kill Frédéric for reasons I still haven’t worked out (and who is foiled when a vampire switches on a fountain display), Frédéric’s rescue from a mental institution by vampire nurses, Frédéric meeting Jennifer wearing David Bowie-style new wave make-up, a blind peddlar woman selling photos of the ruined castle (don’t ask me why… I haven’t the foggiest), and a head-scratching ending that sees Frédéric, now a vampire, climbing into a coffin with Jennifer, the pair carried out to sea by the tide.

  • jeffrey-lowe
    jeffrey lowe

    This stylish vampire epic is one of Rollin’s best. We have the usual Rollin ingredients on hand, nocturnal settings, catocombs, coffins and semi nude vampires lurking the night. Unlike Franco who would delve further into the salacious aspects, Rollin tends to blend his lustful elements into his crafty settings giving the viewer a very unique contrast. This film is a must see for any eclectic Rollin fan.

  • dipl-ing-sibel-austermuhle
    dipl ing sibel austermuhle

    A man finds memories about a vampiress he met as a child rekindled when he sees a beautiful poster of ruins at a party. He is inspired to seek out those ruins as he sees visions of the vampiress while others try to thwart his mission to find her, such as his mother, a supposed girl he knew from childhood, a hit-man, psychiatric doctor, etc. Yet, anytime someone tries to halt the man’s search for the ruins, vampire girls kill them allowing him to continue. No matter what his mother tries to accomplish, this man desires to find this vampiress and will do whatever it takes to find her. It’ll come to a head at the Sauveterre Castle where the vampiress is buried..will the man, Frederic find Jenifer? Or, will Frederic finally listen to his mother’s pleas at allowing Jenifer, the vampiress responsible for his own father’s death, to roam free from the tomb of her coffin? With limited dialogue, it seems director Jean Rollin wishes to capture you with visuals. The problem I had is the visuals are so coldly(..and oddly)displayed, I had a hard time getting involved in the film. Jean-Loup Philippe bored me to tears as Frederic, the young man on his search. He barely registers as the protagonist..actually, his method of acting blends itself well within Rollin’s quiet, unenergetic direction which holds silence as things occur on screen at a snail’s pace. Annie Belle(The House on the Edge of the Park)is a stunning beauty as the vampiress, but she, like Philippe, often stares blankly towards the screen. The film, quite honestly, has some pretty terrible vampire-bite sequences because the vampire girls simply nookie on their victims. The film is beautiful, with some haunting location work and fluid camera-movement. That alone helps, but I had a hard time staying awake through it.

  • benjamin-riddle
    benjamin riddle

    Lips of Blood has a languid quality that could’ve registered as decadence had it been made with any wit whatsoever, but instead of wit the movie offers us this vapid literal-mindedness. The movie is played with such soft-core-porn straightness that it’s impossible not to snicker at it. Director Jean Rollin is sometimes described as a fantasist, but his fantasies are strictly pedestrian. Who but a teenage Goth-nit-wit could find anything to savor in this somnambulistic tale of a pale guy with bad hair being menaced by some half-naked chicks with dime-store vampire fangs? The movie requires more than suspension-of-disbelief, it requires suspension-of-intellect.It’s striking how amateurish and bereft of energy this movie is. Cult directors like Rollin are usually at least capable of some halfway decent staging, but there aren’t even any images that stick with you, any trashy-iconographic moments. The problem is that Rollin himself doesn’t seem all that charged up about his fantasies. Directors who deal in this kind of fetishistic material are usually at least somewhat interested in the subject-matter, but judging by this film Rollin could care less about vampires. The scenes all seem to plod on for hours with nothing happening, the cutting so flaccid that it’s like we’re being encouraged subliminally to nod off. Not a bad idea considering the display of cinematic indifference being carried out before us.

  • jangogsun

    I read somewhere that director Jean Rollin was especially proud of this movie because it actually has a plot (kind of). Unfortunately, when it comes to Rollin, a plot is more of a liability than an asset–logical plots and the infamous French Eurohorror director just aren’t a great combo. It starts out well–a man who works for an ad agency has a recurring dream where he meets a strange woman in a crumbling castle by the sea. At an expo he sees a picture of the castle from his dreams. He finds the female photographer and, although she’s reluctant at first, he convinces her (by having sex with her, of course) to tell him where the mysterious castle is. The subsequent murder of the photographer doesn’t deter him from going there where he meets the strange woman and the plot begins to unravel (in more ways than one).Without giving it away, the pay-off to this mystery is unbelievably stupid and even requires the protagonist’s mother to show up at one point and deliver a long, awkward exposition. Moreover, the more or less linear plot doesn’t work too well with Rollin’s decidedly non-linear visual style. At one point, for instance, the main character is fleeing half a dozen naked female vampires in the seaside castle and then in the very next scene he’s fending off a mugger on the Paris subway. I’m no geographer but I’m pretty sure Paris is a couple hours from the coast and that the Paris subway doesn’t run that far. This scene would be no problem in the typical non-sensical Rollin’s film, but in a movie that is otherwise trying to be logical it’s a little jarring. The movie also lacks a lot of Rollin’s interesting trademark visuals (i.e. vampires emerging from grandfather clocks, virgins in miniskirts lying face down on coffins). The one exception is at the end where a brother and sister vampire crawl naked at sunrise into a coffin which is slowly swept out to sea (I understand this is one of the most famous images in Rollin’s whole oeuvre). But there are not nearly enough visuals like this to maintain your interest, and the “plot” here, unfortunately, is a poor substitute.

  • cevheri-berki-firat-gul
    cevheri berki firat gul

    A fine film. Not, perhaps quite as effective as the rather similar and later, Fascination, but there is still enough to enjoy. Those wind blown see through dresses again for one, or should that be four? No Brigitte Lahaie in this one but the lovely girls in this do well enough. Not quite sure why two of them have to wear something underneath their diaphanous garments but perhaps I have no right to quibble. Bit more story to this one, which actually slows it down a little but this is an interesting enough tale, the girls are of course enchanting and menacing at the same time and Rollin knows well enough how to make the very most of a simple Gothic location.

  • pasztor-orsos-zoltan
    pasztor orsos zoltan

    Jean Rollin describes this as his best written film, but not his best screenplay. The reason for this is that a week before filming commenced, one of the producers decided not to be involved, and withdrew his funding. This meant that instead of four weeks filming allocation (already a pretty tight deadline), there was now only budget for three.So it is a surprise that this is as good as it is – and it is very good! It isn’t flawless, of course. The vampires, although very effective, backlit in the distance, traces of blood on their lips, lose their effectiveness when close up due to the outsized fangs being a little too large (a common problem in Rollin’s films, but not his first, ‘Rape of the Vampire’, in which the fangs were more subtle and effective) causing the actresses to appear to smile to reveal them.Also, at the end, when two vampires encase themselves in a wooden coffin that goes floating off to sea, it is worth remembering that running water is deadly to such creatures, so the hope is that the coffin is sealed. And yet I regret criticising that, because – as with all films by Rollin – the whole project is written and directed as a kind of dream-like fairy-tale, not bound by the limitation of rules, even vampire lore. Indeed, the scene at the end, typically filmed on ‘Rollin’s beach’ is one of his best known, and is poetic and effective even now, fusing perfectly ‘the beauty of obscenity’.So too, is the death scene of the Castel twins (featured on much of the accompanying merchandise). Despite being well known to fans of Rollin, Marie-Pierre and Catherine only appeared in two films together. This isn’t quite as effective use of them as in the earlier ‘The Nude Vampire’, but they are still seductive and mesmerising and ethereal and sinister, all at once.The central performance by (co-writer) Jean-Loup Philippe as Frederic is very strong. Indeed, ‘Lips of Blood’ features one of Rollin’s strongest casts. Frederic’s ultimate decision at the film’s close is a satisfying twist and once again successfully blurs the line between ‘good’ and ‘evil’, much as ‘Dracula’s Fiancée’ did 22 years later.The locations are stunning and lovingly shot. The camera lingering over the enticingly-lit castle, with the (presumably dubbed) sound of whistling wind and thunder, accompanied by eerie flute music, is as atmospheric as anything from a big budget extravaganza. Kudos, also, for doing something very rare in vampire films (especially at this time) – actually using real bats. If this hugely impressive picture was done with a truncated budget, I truly wonder what could have been achieved were Rollin fully funded.Alongside ‘The Iron Cross’, this was the French director’s least successful picture. Agonizingly, to bring it into profit, Rollin re-edited his work, adding scenes of a pornographic nature and renaming it ‘Suck me, Vampire.’ Yes, truly. Needless to say, the new version was a lot more profitable.

  • stefan-at-ch-yan
    stefan at ch yan

    “Lips of Blood” is actually one of my favourite films made by Jean Rollin.The film was shot in just three weeks and basically it’s a love story filled with lesbian vampires and a lot of female nudity.The film is relatively slow-paced,but offers plenty of wonderful Gothic atmosphere and a tiny bit of gore.The four lesbian vampires are incredibly hot.The story may be boring for some,but I still think that this film is better than most of the crap being put out today.Unfortunately “Lips of Blood” failed to generate much interest at the box office,so Rollin moved toward hard core pornography.Anyway,if you like Jean Rollin’s erotic vampire movies give this one a look.Recommended!

  • pani-aurelia-sadlocha
    pani aurelia sadlocha

    LIPS OF BLOOD is the second Jean Rollin film I’ve seen and I have to say that I enjoyed it more than LIVING DEAD GIRL. The acting, script and sets are very unspectacular, sometimes goofy and somewhat unconvincing, but the arch of the story is a bit more interesting than the one in LIVING DEAD GIRL, which I thought was too slow for its own good. Some scenes were contrived and the script is filled with holes, but I thought the overall film was okay. Nothing earth shattering but it’s an enjoyable change of pace and attitude from other (mostly US) horror films out there. LIPS OF BLOOD hasn’t turned me off from wanting to see more Jean Rollin films.

  • michele-smith
    michele smith

    If your one who enjoys the recent surge in European horror films, by all means watch this delirious, non-sensical, erotic gem courtesy of director Jean Rollin.From nude vampire women roaming the streets of Paris, to spooky castles and graveyards. LIPS OF BLOOD is sure to pleaseBe forewarned, as this film is for acquired tastes only. A must for sleazy, soft core horror buffs who enjoy their movies with an art house touch.

  • elizabeth-powers
    elizabeth powers

    There’s no question that Jean Rollin films are something of an acquired taste. His style is certainly off-putting to many. Even from someone who is fond of most of his output, I can easily understand why someone would not like Rollin’s movies at all. Lips of Blood is another textbook example of the man’s work with all the usual eccentric and idiosyncratic details you could reasonably expect. Its story involving female vampires is typical of the sort of thing he is most well known for. Except I have to say that I think that this film may very well be the most complete expression that Rollin ever made. I get the feeling that this movie is possibly the closest of all his pictures to the original idea he envisioned.Quite unusually much of the action takes place in the middle of the city. But as is typical for Rollin, this also incorporates scenes in a Gothic cemetery as well as the expected crumbling castle and beach sequence. However, the night time city scenes are very probably the best parts of the entire movie. They include some strange and surreal locations such as the aquarium, the night fountains and the late night cinema (showing Le Frissons des Vampires no less). The extended scene where our hero navigates all these locations is some of the most fully-realized and effective stuff Rollin ever filmed. He photographs and lights things very well too and Lips of Blood doesn’t betray its ultra low-budget origins as much as most of his other films.The storyline, however, is as basic as usual. The characterizations are as paper-thin as always. But these considerations are just not what you would watch his films for, and if these things do bother you then his films are most probably not for you. But if you appreciate more dream-like fare or melancholic horror films, then this could well be worth your time. Lips of Blood is arguably Rollin’s best film, it’s certainly one of his most well made. Recommended to those who like Euro horror from the more surreal end of the spectrum.

  • imhayun

    The renowned French filmmaker Jean Rollin visits themes of childhood, nostalgia, undying love, and the vampire mythos in this typically enigmatic, striking work. Jean-Loup Philippe, who also wrote the script with the director, stars as Frederic, a maternally dominated young man. One day he chances to see a photo of some old ruins that stir in him a long buried childhood memory, when he got lost, came to those ruins, and was protected through the night by a mysterious but alluring stranger (Annie Belle). He becomes determined to solve the mysteries of his life, like for example why people such as his mother (Natalie Perrey) don’t want him to know the truth. He’s aided in his quest by four sexy female vampires.Rollin films are most assuredly not for every horror fan. He keeps horror elements fairly limited, with not very much gore or scare set pieces. He does, however, include enough nudity, both female and male, to keep faithful viewers and the curious enticed. He also creates an intoxicating atmosphere here, and a genuinely compelling enigma over which our hero can obsess. One of his most affecting touches here is to develop a sense of desolation. There are never any big crowd scenes, nor are there many in the daytime. A lot of the time, there are precious few characters on screen. Almost from start to finish, Rollin gives “Lips of Blood” a true surreal nature, and the dialogue is often appealingly literate.Our leading man isn’t the most charismatic one will ever see, but he’s not unlikable. His various female co-stars fare extremely well, though, especially the radiant young Belle, whom one might recognize from the far more trashy “House on the Edge of the Park”.”Lips of Blood” is wonderfully shot, and definitely romantic in its own way. It’s both artful and exploitative in equal measure, making it well worth seeing.Eight out of 10.

  • jezups-briedis
    jezups briedis

    Lips of Blood (1975) (Lèvres de sang)- Jean Rollin directed this slower story a man seeking to reconnect to his childhood and the vampire he is destined to be reunited to. Frédéric (Jean-Loup Philippe) is haunted by the images of some ruins he visited as a child and starts a journey to find them. Someone is trying to prevent this from happening, who could it be? His over protective Mother (Nathalie Perrey) advice is to forget the past but Frédéric can’t do that. His dreaming leads him to a tomb where he releases a group of scantily clad female vampires who seem to aid him and terrorized him in his quest. When he finally finds the vampire from the past, Jennifer (Annie Belle); his mother comes to him and says that she has been protecting him from the Vamps and he must help her put an end to them. She and her friends had long ago trapped the vampires and now wish to burn them. He is assigned to get Jennifer’s head for this purpose. He does not bring the real head and instead frees the beautiful Jennifer to be her lover. She turns him and they sail away in a coffin. (not kidding here) The movie making is standard for the time period with heavy music and blue and red lighting for effect. There are no special effects besides the lovely bodies of the beautiful vamps. The nudity is more casual than pornographic. Subtitled pay attention or you will miss the reveals. Very straight forward compared to some of Rollin’s more abstract work. Rating (6.5)

  • sharov-matvei-denisovich
    sharov matvei denisovich

    This is my first Rollin film – and I loved it. Gloriously silly and surreal, I detect many sly references to Bunuel (the boring cocktail party) and Fellini (the cold empty beach like the apocalyptic end to ‘La Dolce Vita’ – did Spielberg get his floating coffins in ‘Empire of the Sun’ from this???). The nubile vampires are so unscary and unerotic – they look more like hungry fashion models with a penchant for nasal fairy dust. Who did the hero’s hair – Leonard of London? – let’s bring back the male bouffant! I think he got that knitted top with the zipper up front after seeing Pink Floyd ‘Live at Pompeii’. There are so many great moments – like where the photographer turns at the sound of the doorbell – before it actually rings. What did this mean? Precognition? Bad acting? Who cares. I actually saw this on SBS TV (free to air – unedited). Thankyou SBS – a gem.

  • lytkin-savvatii-eliseevich
    lytkin savvatii eliseevich

    The films of Jean Rollin will be an enigma to many who have not experiencing his work, yet for those who allow themselves to be taken elsewhere by his cinema it can prove a highly rewarding experience. The viewer is often taken to places that invoke bewilderment, unease, and sexual desire. By no means Rollin’s best film, Levres De Sang (aka. Lips of Blood) is a beautifully lyrical, slow burner that has the uncanny ability to take the viewer into an ethereal, dream like world, where the erotic and the neurotic are intertwined.The story of a photographer, upon seeing a poster, is reminded of his childhood where a mysterious female vampire. However, this being Rollin, do not expect a traditional vampire movie (although his vampire films are arguably the most faithful to the Gothic aura and mythology of the vampire). Mostly dialogue free, with the acting catatonic, this only adds a surreal edge to the proceedings. And no vampire films have a greater sense of eroticism; it is easily to succumb to female vampires whenever they are on screen. For the uninitiated, approach with caution. But this is a fine example of the originality and unique approach which is to be found in 1970s European sex and horror cinema. Of which, Jean Rollin was undoubtedly the master.

  • jgdiish-chaabraa
    jgdiish chaabraa

    The movies of Jean Rollin are an acquired taste. He specializes in haunting, sensual, visually impressive movies that frequently concern memory, or memory loss, and obsessively feature beautiful naked women, usually vampires. Maybe Rollin’s therapist can fully explain why his movies deal with this subject matter over and over, but hey, I don’t care, it sure works for me! If you haven’t seen any of his work, ‘Lips Of Blood’ is as good a place to start as any, but frankly I’ve never seen a bad movie by him yet. They’re all good. I’m hooked!Jean-Lou Philippe stars (and co-scripts) as a thirty something man who becomes obsessed with a photograph which reminds him of of his almost-forgotten childhood, which is sketchy at best. He attempts to track down the location in the picture, and this brings back memories of a beautiful and mysterious girl (the lovely Annie Belle/Briand, who also worked with Deodato and D’Amato) he once met. He finds himself uncovering a family secret and his life goes in a direction he could never have anticipated.’Lips Of Blood’ is yet another wonderfully evocative, dream-like film from Jean Rollin. A truly unique film maker who creates fascinating worlds that are both seductive and dangerous. Rollin is one of the best kept secrets in horror, and a master of erotic fantasy.