MIFF 2026 - The Blood Countess Review: Ottinger’s Grandiose Rendition of Myth Is Narratively Dull and Stylistically Daring

Images courtesy of Ulrike Ottinger Filmproduktion.

Intended meaning may get lost between original dialogue and translated subtitles, but camp humour, thankfully, does not. The Blood Countess is a grandiose and hyperbolic rendition of the terrifying myth behind its titular character, Erzsébet Báthory (Isabelle Huppert), that does not shy away from the tale’s queer undertones. 

The Báthory name has been shrouded in myth since the 17th century. The countess was rumoured to bathe in the blood of virgins and kill young girls, drinking their blood for eternal youth. Regardless of the sinister mythos surrounding the character, Ottinger delivers a fun and unserious take on Erzsébet Báthory. 

The film centres on Báthory’s search to destroy a book that could turn vampires mortal before her nephew, a vegetarian vampire, intends to use it. This dynamic offered an interesting main conflict as the two were often collaborating to find the book, amplifying a comedic power imbalance between a determined murderous aunt and her docile nephew. 

The story itself has some semblance of structure, though there are entire scenes that are, narratively speaking, useless. My favourite being the brief cameo of Conchita Wurst. Plotlines are introduced then poorly executed or ignored and it all fizzles out into a subpar finale. A detective duo as well as two ‘vampire’ experts are introduced to try and create more pressing stakes within the story’s escalation, however, they only serve to further the humour without effectively succeeding in intensifying the drama. In saying that, The Blood Countess is not a film for those who are fans of complex storytelling. It is a film for those who love the ridiculous and a killer costume. 

The design is genuinely sensational in every sense of the word. From the beginning, exaggerated flamboyance is introduced as the film’s baseline as Huppert appears in a dress that doubles as a literal boat. Ottinger embraces individual character styles, such as the nephew, Rudi Bubi von Strudl (Thomas Schubert) wearing rich emerald greens and finely tailored suits that directly contrasts Huppert in her blood red gowns, rich furs and long capes.  Huppert soars as the leading actress in these costumes that are reminiscent of operas, an aesthetic that is thoroughly appreciated by Ottinger and costume designer Katharina Forcher. Ottinger compliments this further by leaning into big, looming shots that capture Austria’s extensive and exuberant gothic architecture. It creates a transcendent bubble that takes you out of the 21st century despite being set in modern Vienna. 

Additionally, Huppert’s portrayal of Báthory is superb. She was made for this role and delightfully provides us with a hedonistic and hilarious character that grips the audience’s attention in every scene. Paired with her loyal maid, Hermine (Birgit Minichmayr), their chemistry is enough to make you forget about the lacklustre story. 

The Blood Countess is a film filled with humour and charming wit. Though it is abstract and, at times, seemingly random, it is a joy to behold. Ottinger does not take the concept too seriously, fully understanding the outrageous possibility available within the story of a glamorous Austrian vampire obsessed with beautiful girls trying to keep her immortality. 

The Blood Countess is screening at the Melbourne International Film Festival on Saturday the 22nd of August. For tickets or more info, click here.