French actress Isabelle Huppert returns to the Berlin Film Festival with her latest role in The Blood Countess, directed by avant-garde filmmaker Ulrike Ottinger. This premiere highlights Huppert’s remarkable 50-year career, during which she has starred in more than 120 films. Known for her ability to defy expectations, she takes on a campy portrayal of Elizabeth Báthory, a historical figure infamous for her gruesome reputation as a vampire.
Set to make its world debut at the festival, The Blood Countess presents Huppert in a strikingly different light. The film opens with her floating on a crimson-draped barge in Vienna’s underground canals, evoking an atmosphere reminiscent of an 1980s rock video infused with surrealist elements. The character Báthory, a Hungarian countess who allegedly bathed in the blood of virgins, has been explored in various artistic interpretations, but Ottinger’s film leans heavily into the realm of camp and dark humor.
In discussing her role, Huppert remarked, “It doesn’t happen so often, for me, to get offered a role like this, so unusual,” highlighting the rarity of such opportunities in her illustrious career. She noted the parallels between this film and her past work with director François Ozon, particularly the comedic elements present in both Mon Crime (2023) and 8 Women (2002), which also screened at the Berlinale.
Huppert’s history with the Berlin Film Festival dates back to 1971 when her first feature, The Bar at the Crossing, premiered there. Over the years, she has had a dozen films showcased at the festival, creating a rich tapestry of her evolving roles. Each appearance at the Berlinale reveals different facets of her talent, from serious performances to those that embrace comedic absurdity.
In 8 Women, which won a Silver Bear for its ensemble cast, Huppert showcased her comedic chops as a lovelorn aunt, blending fragility with humor. Critics noted that her performance transformed the perception of her character from one of repression to a source of laughter. Such versatility has defined her career, as seen in her roles in both The Piano Teacher and Elle, where she navigated complex emotional landscapes.
Huppert’s return to Berlin with The Blood Countess is not merely a new chapter in her film career but also a reflection of her long-standing connection with the city. She has often moved between film and stage, garnering acclaim in Germany for her theatrical performances. Huppert recalled, “I did a lot of stage work in Berlin, that’s part of my best memories of the city,” emphasizing the significance of the city in her artistic journey.
The film’s exploration of humor is also evident in Huppert’s previous works, where she often balanced dark themes with wit. In The Nun (2013), she played a mischievous mother superior, while I Heart Huckabees (2004) showcased her ability to parody European intellectualism. Huppert’s roles often reveal a hidden humor even in the most intense situations, a quality that resonates deeply within her performances.
The influence of Austrian literature, particularly the works of Nobel Prize-winning author Elfriede Jelinek, is palpable in The Blood Countess. Huppert noted the film’s dark humor aligns with the biting irony found in Jelinek’s writing. This thematic depth adds layers to the campy narrative, making it a compelling addition to Huppert’s repertoire.
Huppert’s collaborations extend to the stage, where she has worked with notable directors like Peter Zadek and Heiner Müller. These experiences have shaped her understanding of performance, allowing her to oscillate between extremes with ease. The heightened theatricality present in The Blood Countess reflects her extensive background in theater, particularly in Berlin, where audiences appreciate the blend of seriousness and humor.
The Berlin Film Festival has recognized Huppert’s unique ability to convey complex emotions through her performances. In a recent tribute, actor Lars Eidinger described her craft as embodying “the whole range of ambivalence, hate, love, life and death, hope and hopelessness in a single look.” This paradoxical quality is what continues to captivate audiences and critics alike.
As Huppert prepares for the premiere of The Blood Countess, she also acknowledges the broader cultural significance of the Berlin Film Festival. “A festival also reflects the soul of the place where it takes place,” she said, asserting the festival’s vital role in celebrating cinema. Over her five-decade career, Huppert has exemplified the delicate balance between severity and excess, making her an enduring figure in the film industry.
Berlin, with its rich artistic heritage and open-minded audiences, has provided Huppert the platform to explore the depths of her craft. As she steps into the spotlight once again, audiences can expect an unforgettable performance that challenges conventions while celebrating the darker, campier aspects of storytelling.
