One of the most stylish horror films of the 1970s, this lesbian vampire epic masterfully combines traditional horror elements with outrageous — often ludicrous­ wit. It also expresses feminist themes and is decidedly anti-male, despite being directed by a man, Belgian writer/director Harry Kümel. A sadistic male chauvinist and his beautiful new bride miss their boat to England and check into a deserted seaside hotel in modern­ day Belgium. A mysterious woman (Delphine Seyrig) arrives with a young companion who is both servant and lover. The mystery woman claims to be Elizabeth Bathory, the name of the "Bloody Countess" who lived and murdered scores of virgins for their blood three centuries before. She becomes attracted to the bride and sets out to take her away from her new husband.

Daughters of Darkness moves from campy to sexy to horrifying and does it all with amazing originality. Kümel makes great use of sound, music, color (red especially), clothes, character placement, and weird camera angles. The creepy husband's mother is played by a man — director Fons Rademakers who makes a memorable contribu­tion to this horrifying, undeniably fun cult classic.