unwanted

“A southern gothic lesbian vampire story.” That’s co-star Kylie Brown’s description of The Unwanted, an unfortunately vague title for this modern updating of the Sheridan Le Fanu vampire story Carmilla which was adapted (multiple times) by Hammer Films in the late ‘60s and early ‘70s when the studio looked to sexually adventurous material as their financial savior.

It didn’t work then. And the results aren’t much better now.

Writer/director Bret Wood avoids most of the obvious exploitation elements one would expect in a lesbian vampire movie; of which there are a surprisingly large amount to compare with, from Jose Ramon Larraz’s hypnotic Vampyres (1974) to the high-profile softcore sequence between Susan Sarandon and Catherine Deneuve in The Hunger (1983). But the question is, Why? Especially when, in the moments the film does give in to temptation, it’s a welcome and (let’s face it) expected bit of sexy bloodletting.

Actually, The Unwanted isn’t sure it’s a vampire film at all.

Millacarla Karenstein (Kylie Brown) arrives in a sleepy southern town looking for her mother, Carmilla, whose trail stops at an isolated farmhouse owned by Troy (William Katt) and his daughter, Laura (Hannah). It’s obvious Troy is hiding something. And Laura’s suspicions about her father, and her own desperate loneliness, drive her into the arms of Millacarla, whose investigation leads them all towards a tragic repeat of family history.

The film initially plays a bit like an indie drama with some questionable acting and story that almost pulls a muscle trying to fit in all the requisite Sundance ingredients (cutting, sexual abuse, lesbianism). The “brick wall moment,” so to speak, is the beginning of Laura and Millacarla’s relationship, which seems wooden and forced. There’s no seduction and very little chemistry. As a love story, it’s a failure.

But Wood’s direction perks things up during the flashback scenes, creatively cutting between William Katt’s lengthy expositions and recreations of the central mystery. Star Hannah Fierman (so memorable the “Amateur Night” segment of V/H/S) makes the best impression, first capturing your attention with those Amanda Seyfried eyes, but proving there is an actress at work behind them.

It’s not until the last act that The Unwanted finally gives in to its baser instincts; trading psychological trauma for visceral thrills (and one incredible arrow through the head gag!). There’s nothing wrong with attempting highbrow horror, but Wood might have been overreaching for the first 90 minutes. His final 10 proves that there’s still some potential.

Kino Lorber’s Blu-ray presentation is off-the-charts beautiful, showcasing the film’s impressive on-a-budget cinematography. Extras include a pair of trailers, deleted scenes, 10-minute Making Of (focusing almost solely on the actors) and Wood’s 17-minute short film, The Other Half.