For me, Larry Fessenden has always been one of the most original voices in indie horror circles but if I had to choose one film that really brought him to the attention of a wider crowd, then it’s got to be this one.

Here Fessenden plays a self-destructive alcoholic who embarks on a pretty unorthodox relationship with a mysterious Goth nymphomaniac called Anna (Meredith Snaider) who may or may not be a vampire. He never sees her in daylight, and she has a nasty, unsanitary habit of gnawing on him during their enterprising sexual encounters. But, despite all the warning signs, Sam’s addictive personality prevents him from listening to his gut, and he ends up vamping out in the process too.

Much like Romero in the aforementioned Martin, Fessenden keeps all the film’s vampiristic allusions totally open to question and a similar documentary aesthetic lends a terrifying sense of realism; a realism that places much more emphasis on the real-life horrors of addiction than it does on the film’s purported predator. The very real vampire in this story is not Anna, but in fact the alcohol that’s gradually leeching the life out of Sam.

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