Sex and Eroticism in Near Dark and The Hunger

Given how Near Dark is considered one of the best vampire films ever made, one may be shocked at how few individuals have seen the masterpiece. It is difficult to argue that that 80's was one of the better time periods for cinematic bloodsuckers. With films such as The Lost Boys, The Hunger, and Near Dark in theaters, it was truly a golden age for Dracula's children of the night. Kathryn Bigelow's presentation of her moody examination of white-trash vampires is very intriguing. Near Dark in and of itself shows an interesting dichotomy in terms of its genre, or genres: part western, part vampire flick (albeit never once is the word “vampire” even used or mentioned in the film throughout its duration itself), and part film.

Those three elements merged to create the ultimate cult classic. There are many reasons as to why Near Dark has earned such a reputation over the years – it's well-written, the cast is magnificent, and in fact the best element of this film; you could not have a more perfect cast than this one. Bigelow's directing also is one of a kind. It's almost like you wouldn't know that the person who directed this is also responsible for the multiple award winning war movie, The Hurt Locker (2008).

As the young Caleb, Adrian Pasdar works extremely well and one can be left wondering that he never really truly got the credit he deserved as an actor; even with his success in the television show Heroes (2006) prior to its cancellation, an individual may ponder why he did not suddenly become incredibly famous after his work in Near Dark. There is absolutely nothing at all wrong with this film. The way Bigelow directed flows perfectly with the characters and the writing. There is also at least an inkling of this film's infl...

... middle of paper ...

.... The film is stunningly beautiful in terms of visual presentation – it consists of elegance and overstated beauty; it is a visual feast.

Not only does the vampire undergo a transformation – multiples into a demonized family in The Lost Boys and Near Dark – but the dangerously alluring erotic dark underside of vampirism found in The Hunger is sapped of its seductive energy. In The Hunger there is not a lot of dialogue, but there is more than enough stark imagery to make up for it. The love and sex scenes are very erotic without having been very explicit. As a film, The Hunger is agonizingly terrible, circling itself all around an exquisitely effective sex scene. The movie is nearly unwatchable, and has very little to offer. It is dull, and the only thing that only a select few individuals would enjoy that it has to offer are the “shocking” scenes of lesbian lust.