COMING SOON to Gutter Studies! A new series exploring the work of French director Jean Rollin. For many subscribers, Rollin will be a figure who needs no introduction. But for those that are new to his work: Rollin is one of the major figures of Eurohorror, known in particular for his characteristic brand of poetical erotic horror in the 1970s and 80s.
The series will cover Rollin’s entire career, providing context, analysis, and appraisal of all of his major films. See below for the series roadmap, including the movies covered in each installment.
You can also check out the watchlist on Letterboxd here.
Part one: POETIC SURREALISM: HOW TO WATCH A JEAN ROLLIN FILM
This video provides a brief introduction to Jean Rollin, including biographical notes and some tips on what to expect from his work. He made horror movies like nobody else, and it’s helpful to know that going in.
Part two: THE VAMPIRE CYCLE
This video covers the first phase of Rollin’s career, which began in the late 1960s with four vampire films in a row. As we’ll see, these were no normal vampire flicks, and laid the essential foundation for the themes and imagery that would characterize Rollin’s career.
Rape of the Vampire (1968)
The Nude Vampire (1970)
Shiver of the Vampires (1971)
Requiem for a Vampire (1971)
Part three: IN SEARCH OF LOST TIME
This next installment covers a series of films that focus on themes of lost memories, yearning, and romantic fatalism.
The Iron Rose (1973)
Lips of Blood (1975)
The Night of the Hunted (1980)
Additionally, we take a quick look at The Demoniacs (1974) and The Grapes of Death (1978).
Part four: SORORITY OF SADNESS
This chapter examines a handful of films that reflect perhaps the most recognizable motif running throughout Rollin’s career: the notion of outsider intimacy, represented by the image of close female companionship.
Fascination (1979)
The Escapees (1981)
The Living Dead Girl (1982)
We’ll also take a brief look at Zombie Lake (1981).
Part five: VOLUPTUOUS MELANCHOLIA
In our conclusion, we examine the Freudian concept of melancholia running throughout Rollin’s work, and take a brief look at the final stage of Rollin’s career. This final period was characterized by self-referential pastiche and meta-nostalgia in movies like Lost in New York (1989), Two Orphan Vampires (1997), Dracula’s Fiancee (2002), and Night of the Clocks (2007).
I hope you enjoy watching and thinking about Jean Rollin with me, and that the series contributes to our shared understanding of this odd, legendary, and painfully unique filmmaker.
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