Fantasie di una tredicenne

Exquisite aesthetic is not enough for me, especially in itself. I want layered stratagems, nested worlds, the built of an oblique carpentry, the stuff that Lynch deals in, Wojciech Has, Ruiz; or a unified space impregnated with those things, as in the films of Antonioni or Resnais. I want magic, the spontaneous and impromptu, to well up from a familiar view of life, poetry from mundane essentials, for example the scenes of Tokyo roads in Solyaris is the most amazing rite of passage I have seen. It's passage from a tangible world.

With something like this I have no point of entry. There is no double perspective, or one foot in a world that matters. It's one long psychosexual dream stirred up from restless sleep, a young girl's guilt nightmare of a throbbing sexuality.

Life inside the grandmother's house is sterile, but outside it booms with activity and rigor. Of course once out there, the adult world poses a constant threat; its web of dark, barely comprehensible forces - none too subtly dressed up in monk garbs, there's also a demonic figure in black who addresses from the pulpit a congregation of fearful maidens - out to drink life from youth. The film appropriates suitable imagery from the vampire film.

So even though the artistry is excellent, the nightmare effective, I am just not at all interested in teasing out symbolic detail from a rural pageant. There is this one layer, and the most pressing question for the film seems to be how much of that is a dream. But again, something hardly worth puzzling over.

This is a problem in general with the surreal part of the Czech school; while inventive craftsmen, they cannot seem to layer their narratives around a solid, penetrating core. So we get beautiful but scattershot imagination. On the other hand, their comedies are superb for the same reason.

A "coming of age" story like no other, this Czech Gothic fairytale is possibly the most lyrical film ever made. Valerie, a 13 year old staying with her grandmother while her parents are away has her first menstruation, triggering a series of interlocking dreams about lustful vampires who prey upon her youth. Despite the monstrous goings-on, the film is a buoyant and sensual pleasure to watch. The camera-work and composition never ceases to amaze and the energy of its tuneful folklike score propels the convoluted story forward effortlessly. And much credit should be given to Jaroslava Schallerova as Valerie who inhabits the role with the right balance of knowledge and wonder

This is the best "girl gets her period" film I've ever seen. The week she comes of age, Valerie sees sex through many lenses. It is a very confusing time for her, full of danger and sensuality.

The film makes great use of color and music. The entire feature has a dreamy quality, not least because of the relentless and uneven symbolic representations. This film should be shown to every teenage girl, who should then go back and watch it again and again as she ages.

This is one of the most astounding films I have ever seen, both visually and in terms of narrative. It consists of at least two stories (a young girl becoming a woman, a vampire story) layered on top of each other with a kind of dream-logic. It looks a dream as well. A cleaned-up DVD edition would be nice, though.

Some viewers may be offended by its' oedipal imagery, but for me this is perhaps the best fantasy-movie ever. Great actors too. It would be interesting to know if any of the people involved in this made anything as good again. A solid ten.

A masterpiece of erotic confusion, Valerie comes as a delightful introduction to prolific Czechoslovakian director Jaromil Jires, whose career spans five decades. Jires blends reality and illusion to the extent that a synopsis does a disservice to the film, yet the literary story would work quite well on its own. Jaroslava Schallerovà, only 14 years old at the time, plays Valerie, a pretty young girl who lives with her grandmother in a beautiful yet antiseptic house. Her boyfriend (or perhaps brother), who goes by the name Eagle, sets off a chain of unusual events when he steals her earrings. A troupe of actors, or perhaps a wedding procession, comes into town, bringing with it a man who may be a monstrous vampire but may also be Valerie's father. Soon after Valerie's grandmother either disappears or dies, her Cousin Else shows up at the house and bears more than a striking resemblance to the grandmother (indeed, I believe these characters are played by the same actress). Things progress much along these lines, with eventually Valerie experiencing a major reawakening. Jires films in an impressively sensual manner, creating a mood through imagery rather than plot point. At times, however, the details get rather confusing, which can unfortunately shift attention from the beautiful composition and editing to deducing narrative developments. Many sequences appear to occur within the story but then end with the suggestion that they have just been imagined, introducing a need to constantly second-guess one's perceptions. Schallerovà plays the role with stunning (perhaps genuine) innocence. Without overindulged serenity, Valerie mystifies and befuddles through an agenda of symbol-soaked imagery and fantastic storytelling.