Daughters of Darkness
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Synopsis
Newlyweds Stefan and Valerie are travelling through Europe when they make a detour to a deserted seaside hotel. Their romantic idyll soon takes a dark turn when they meet the enigmatic countess Báthory (Delphine Seyrig, Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles) and her mysterious companion Ilona, whose unsettling charm and aristocratic poise mask a deadly intent. A Euro-horror classic, Daughters of Darkness is an opulent fever dream, weaving a Sapphic subtext and feminist undercurrent beneath its baroque surface. Thematically rich. Harry Kümel’s vampire tale transcends convention and is presented in a stunning 4K restoration for the first time in the UK.
Picture 9/10
Radiance brings Harry Kümel’s Daughters of Darkness to 4K UHD in a lovely limited-edition set, presenting the film in Dolby Vision with its original 1.66:1 aspect ratio on a dual-layer BD-66 disc. The 2160p/24hz ultra high-definition presentation stems from a 4K restoration performed by Blue Underground, sourced primarily from a scan of the 35mm original negative. Radiance also includes a standard dual-layer Blu-ray featuring a 1080p presentation of the film and all of the release’s video supplements. Despite being a UK release, the Blu-ray is region-free (as is the 4K disc, of course).
I never saw Blue Underground’s previous edition, so I wasn’t sure what to expect, but whatever expectations I had were quickly surpassed; the presentation is a knockout. The film’s palette can be surprisingly flat at times, though I suspect this was the intention because this leads to the film's sudden appearances of striking color pop out all the more. Delphine Seyrig’s costumes, in particular, are vibrant and eye-catching (that red gown she wears really jumps off the screen), and the film frequently uses color-filtered lighting to wash scenes in intense and bold hues. Dolby Vision and HDR enhance these moments beautifully while also enriching shadow detail and bringing depth to the many nighttime (some, if not all, likely day-for-night) and dimly lit sequences. Highlights look equally impressive, especially the gleaming reflections off Seyrig’s silver lamé gown late in the film.
The restoration work is first-rate as well. A few faint scratches and specks remain, and a couple of optical zooms introduce a softer, dupey quality, but overall the image is remarkably clean and film-like, a huge leap from the samples I’ve seen of the earlier Anchor Bay and Blue Underground releases. All in all, the image is terrific.
Daughters of Darkness - Screen Captures
Audio 6/10
Radiance includes two audio options, both presented in single-channel monaural DTS-HD MA, one in English and one in French. I watched the film with the English track, which sounds surprisingly strong. The range isn’t especially wide, but fidelity is very good, with dialogue coming through clean and well-defined. I’m not entirely sure how much dubbing was involved (there are a few moments where lip movements don’t quite match), but the track avoids that hollow, overly “looped” quality common to post-synced mixes. The music also comes across nicely balanced without harshness, and there’s no significant distortion or damage to report. Overall, I thought it sounded quite good.
Extras 9/10
Radiance assembles its own impressive slate of supplements for Daughters of Darkness, surprisingly leaving out the extras Blue Underground produced for their earlier editions (I assume Radiance was unable to license them). The centerpiece is a newly recorded audio commentary featuring Virginie Sélavy and Lindsay Hallam, included on both the 4K and Blu-ray discs. It’s a solid track that explores the film’s production history—from Kümel’s initial concept to its final form—while situating it within the lineage of vampire cinema, particularly the early-’70s wave of female-centered films like Vampyros Lesbos and, in spirit, later films like Trouble Every Day. Elizabeth Bathory naturally comes up, as do discussions of the film’s themes, characters, and striking aesthetic, which the pair note keeps it balanced between exploitation and art film. Seyrig’s performance and costume design also get their due. I was a little disappointed that Kat Ellinger’s previous commentary wasn’t carried over (she’s discussed this film extensively elsewhere and even wrote a book on it), but this track proves engaging and well-informed.
Radiance also includes a newly filmed 30-minute conversation between Kümel and critic Anne Billson, which is found on the standard Blu-ray alongside all of the remaining supplements. The discussion largely focuses on the film’s production and release, with Kümel sharing his original concept (apparently envisioned as something more along the lines of a period piece) and how budget limitations steered him toward a contemporary setting. He reflects on his cast, working with Seyrig, and even the small compromises he had to make, like settling for a different car after being unable to source two matching models. Billson adds her own perspective, speaking about how the film influenced her personally, down to her choice of lipstick, before the two touch on a planned but unrealized sequel, aptly titled Mothers of Darkness.
Three archival television excerpts provide a look at the film’s original production. The first focuses on the stunt work, including an interview with both Kümel and stuntman Thierry Hallaert; the second presents behind-the-scenes footage with Seyrig and Andrea Rau, along with a brief interview with Kümel about the reception of his earlier Monsieur Hawarden. The third features a generous 27-minute segment from a 1989 interview with Seyrig, filmed around her appearance at the 11th Créteil International Women’s Film Festival. Much of it revolves around women filmmakers and the festival itself (with a host oddly fixated on one of the posters for the event), before turning to Seyrig’s views on aging, privacy, and her career (as well as how she is somewhat ashamed of a few of her films).
Radiance then adds several new pieces, including an engaging 28-minute interview with Kim Newman. He traces the history of cinematic vampires, noting their sporadic popularity over the decades, dominated early on by Nosferatu and the Universal cycle before a revival under Hammer. He highlights Dark Shadows and other key properties before diving into the surge of female vampire films like Countess Dracula, Vampyros Lesbos, and Daughters of Darkness. As always, Newman proves an inexhaustible source of insight, bringing fresh context to material he’s discussed countless times in interviews of this type through the years.
Also included is a new video essay by Kat Ellinger. Though not devoted solely to Daughters of Darkness, it complements the set beautifully by exploring the legend of Elizabeth Bathory and how her supposed atrocities have been adapted in literature and film. She references Borowczyk’s Immoral Tales along with other works that draw from the myth (like Countess Dracula), situating Kümel’s film within a broader cultural fascination. I found it quite a bit of fun.
Rounding out the package are two of Kümel’s early experimental shorts: Anna and the Maid (5 mins), an adaptation of Jean Cocteau’s poem (the text narrated over the action as it were), and Aether (7 mins), a surreal depiction of the aftermath of a man’s fall down a flight of stairs. The limited edition also includes a hefty 78-page booklet featuring essays by Alexandra Heller-Nicholas, Martyn Conterio, Joseph Dwyer, Suzanne Boelyn, and Mariéad Roche. Each offers a distinct perspective, though I particularly liked Conterio’s piece on how the classical Hollywood look of the vampires (throughout the features Seyrig's character is compared to Marlene Dietrich, even by the director).
All told, this is a beautifully produced set. Radiance has put together a thoughtful, varied collection of supplements that should please fans.
Closing
Radiance’s new edition of this cult favorite offers a gorgeous 4K presentation and an engaging selection of supplements—definitely one fans will want to pick up.
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