Pre-show — 7:30 p.m.
Feature — 8:00 p.m.
“What’s interesting about vampires are they are the monster that can best represent a multitude of ideas: The pain of immortality (and mortality), the cruelty of adolescence, the seductive quality of lust and sexuality, and loneliness. LET THE RIGHT ONE IN wraps [these] themes into one, but keys into the romanticism of the vampire with an adolescent and queer edge.” — Kyle Turner, The Movie Scene
Debuting at the height of the romantic vampire craze of 2008, Thomas Alfredson’s LET THE RIGHT ONE IN sunk its teeth into audiences who didn’t even know they were craving a Swedish vampire movie about a couple of lonely kids with itchy sweaters falling in love.
Now regarded as one of the best horror films of the decade, Alfredson’s adaptation of John Ajvide Lindqvist’s novel is as warm-hearted and full-blooded as its early ’80s suburban Stockholm setting is wintry cold and white. Its story about the budding love between a bullied 12-year-old boy (Kåre Hedebrant) and an ageless child-like vampire (Lina Leandersson) works just as well as a Nordic Noir, a Smiths song come to life, and a fascinating treatise on gender, queerness, and violence as variously a fascistic tool wielded against outsiders and a righteous one used to punch back.
Viewed with fresh eyes on its ten year anniversary, the film’s beautiful minimalist style — its austere long takes and kitchen sink realism — feels like a bellwether for the so-called “elevated horror” trend that followed it in films like THE WITCH, THE BABADOOK, and HEREDITARY. More than those successors, though, it has a scarlet-red heart that belies its frosty, desaturated environment and its scarily efficient set pieces.
None Currently Scheduled