Isabelle Huppert, the acclaimed French actress, is captivating audiences once again with her latest role in The Blood Countess, directed by Ulrike Ottinger. Premiering at the Berlin Film Festival on February 16, 2023, the film showcases Huppert in a striking portrayal of the notorious Hungarian countess, Elizabeth Báthory, who is infamous for her gruesome legend of bloodthirst.
In her expansive career spanning over fifty years and more than 120 films, Huppert has consistently demonstrated a remarkable ability to defy expectations. From the repressed music professor in The Piano Teacher (2001) to the complex survivor in Elle (2016), her characters often explore the darker aspects of human nature. Yet, her latest performance takes an audacious turn into camp, as Huppert immerses herself in the role of a centuries-old vampire with a taste for virgin blood.
The film opens in a surreal scene where Huppert’s character arrives on a crimson-draped barge floating through the canals beneath Vienna, evoking the aesthetic of an 1980s rock video. Huppert describes the role as a rare opportunity, stating, “It doesn’t happen so often for me to get offered a role like this, so unusual.” She likens The Blood Countess to her prior work with director François Ozon, highlighting a shared link to her film 8 Women (2002), which also premiered at the Berlinale.
Huppert’s relationship with the Berlin Film Festival is long-standing. Her first feature, The Bar at the Crossing (1971), debuted at the festival during a time when the Berlin Wall still divided the city. Over the decades, she has presented numerous films at the Berlinale, showcasing her versatility as an actress. In total, she has had a dozen films screened, each reflecting different facets of her astounding range.
The 2002 film 8 Women, which won a Silver Bear for Best Ensemble Cast, demonstrated Huppert’s untapped comedic talent. In this colorful murder musical directed by Ozon, she played a lovelorn aunt whose emotional struggles culminate in song and dance. Critics noted that her performance highlighted a shift from the severity often associated with her roles to a more lighthearted and humorous approach.
Huppert’s comedic timing reappeared in David O. Russell’s I Heart Huckabees (2004), where her role as a French philosopher offered a sly self-parody of European intellectualism. Reflecting on her preference for comedy, she remarked, “Whenever I have the opportunity to do a good comedy, I do it.” This ability to balance humor with substance has marked her career, allowing her to traverse both serious and comedic roles seamlessly.
In Things to Come (2016), which won the Silver Bear for Best Director, Huppert portrayed a philosophy teacher navigating the complexities of divorce and middle age. Unlike the intense repression found in The Piano Teacher, this character displayed a warmer demeanor, showcasing Huppert’s ability to convey vulnerability alongside her signature hauteur.
Throughout her career, Huppert has also engaged deeply with theatre, particularly in Germany and Austria. Her stage performances have shaped her artistic expression, allowing her to explore themes of psychological intensity alongside the formal rigor of directors like Heiner Müller. “I did a lot of stage work in Berlin; that’s part of my best memories of the city,” she shared, underlining her connection to the vibrant cultural landscape.
The influence of German theatre is evident in The Blood Countess, which features elements of performance art alongside its cinematic narrative. Huppert reunites with Lars Eidinger, a regular collaborator in European theatre, who plays a vampire-skeptic psychotherapist in the film. Their past collaborations and the shared artistic vision enrich the film’s campy aesthetic.
Huppert’s storied relationship with Berlin culminated in 2022 when she received the Golden Bear for lifetime achievement, a recognition she accepted remotely due to testing positive for COVID-19. Eidinger, who delivered her laudatio, praised her ability to convey a spectrum of emotions with a single glance, capturing the essence of her craft.
Reflecting on her experiences at the Berlinale, Huppert stated, “A festival also reflects the soul of the place where it takes place.” She emphasized Berlin’s cultural vibrancy and its welcoming atmosphere for filmmakers and audiences alike. The festival has consistently provided Huppert with a platform to explore extremes in her performances, from the depths of emotional repression to the heights of campy excess.
As Huppert continues to oscillate between various styles and genres, her latest role in The Blood Countess reinforces her status as a remarkable and versatile actress. The film not only showcases her unique talent but also celebrates the rich artistic dialogue between cinema and theatre that defines her illustrious career. Berlin remains a fitting backdrop for her ongoing exploration of the complexities of human emotion and artistic expression.
