Eloquent, expressive and altogether haunting, Jean RollinΓÇÖs fourth feature film,
1971ΓÇÖs Vierges et Vampires (Requiem for a Vampire) shows him as an artist totally in control of his own art and totally separate from anyone else in cinema before or since. 

Rollin admitted in his introduction to Requiem for a Vampire in Virgins and Vampires that by 1971 he was, ΓÇ£used to the critics insults, the public outcryΓÇ¥ and that with the film he, ΓÇ£started shooting for (his own) personal pleasure exclusively since the others had rejectedΓÇ¥ his past works. ItΓÇÖs that striking spirit of independence that finds its way into every frame of Requiem for a Vampire, a totally secure and confident work that has our guy making one of the purest Jean Rollin films imaginable. 

Inspired by the paintings by Paul Delvaux, and working with a young but stylish cinematographer named Renon Polles, Jean Rollin injects every frame of Requiem for a Vampire with a striking and languid authority. Not in a hurry and delighting in capturing moments that other filmmakers would scoff at, Jean Rollin has by this point totally perfected the deliberately slow and mesmerizing pace that so many of his fans have come to worship and revere over the years. The director himself would state in EncoreΓÇÖs booklet about his most ΓÇ£childish and personalΓÇ¥ film that he ΓÇ£was beginning to obtain a certain authorityΓÇ¥ in his command of the medium, and it's not a stretch to say that every film he has made since owes at least something to the evocative images of Marie-Pierre Castel and Mireille Dargent running from something unseen throughout this, one of his most iconic and necessary works. 

{...} (Fascination:  The Jean Rollin Experience).

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