1983 Directed by Tony Scott
Miriam promises her lovers the gift of eternal life, but John, her companion for centuries, suddenly discovers that he is getting old minute by minute, so he looks for Dr. Sarah Roberts, a researcher on the mechanisms of aging, and asks her for help.
Catherine Deneuve David Bowie Susan Sarandon Cliff DeYoung Beth Ehlers Dan Hedaya Rufus Collins Suzanne Bertish James Aubrey Ann Magnuson John Stephen Hill Shane Rimmer Peter Murphy Douglas Lambert Bessie Love John Pankow Willem Dafoe Sophie Ward Philip Sayer Lise Hilboldt Michael Howe Edward Wiley Richard Robles George Camiller Oke Wambu Kent Miller Fred Yockers Susan Hunter James Wassenich Show All…
Dan Mindel Hugh Johnson Michael Stone John Palmer Tom Mangravite Garrett Brown Angelo Pacifici James Fitzpatrick Bob Smith David Cadwallader Joseph Di Pasquale George Binnersley
Dick Smith Ann Brodie Carl Fullerton Doug Drexler Peter Montagna Jane Royle Antony Clavet Paul Gobel
De roofdieren, Les prédateurs, Aima kai pathos, Ha'Ra'av, Голод, 千年血后, Glad po krvi, Glad za krvlju
I dare say that if Catherine Deneuve and David Bowie approached me and invited me to be part of their eternal vampire existence, the answer would be a resounding YES...
...and if they approached me only to seduce me, pleasure me, and kill me for my blood the answer would probably also be a somewhat less resounding but undeniable yes.
my son turned 4 months old so i decided it was finally time to show him THE HUNGER. better late than never, i suppose. i think he liked it — didn't poop once.
(i usually just log stuff i watch for work but i'm not working for the next few weeks. everything else is completely normal tho).
a gothic sex horror about fashion sunglasses with DAVID BOWIE and an opening sequence of BAUHAUS LIVE IN CONCERT !??! excuse me but i have simply passed away....serving exxxtreemeeee "you might as well face it, you're addicted to love" realllnesssssss
![nathaxnne <3 [hiatus]](https://a.ltrbxd.com/resized/avatar/upload/1/9/5/2/4/3/shard/avtr-0-80-0-80-crop.jpg?v=2d9f35eba8){kind=small}
The horror is not in dying. The horror is in not dying, or not dying yet. Breaking down over time, being trapped in a body that is less and less useful, in a consciousness which is less and less able to articulate itself as aware, but nonetheless aware, unable to escape perception. As soon as we are, we begin to die. Cut flowers in a glass of water. This is ultimately a blessing. To come into being, to be released from being, that is not a curse. The curse is in the removal of that release, a curse that might not appear that way initially. If we are fortunate our dying is slow enough that we may learn from it…
90/100
A painterly phantasmagoria of succession. Images, sounds, edits; It all flows like a singular brushstroke in motion. Bauhaus howls his most famous tune in the opening like a maddening cry for revolution, and in a nightclub bursting with wannabes, the real deal manifests out of the darkness, walking towards their nameless victims. The Hunger is a deafening call to arms, slithering though possessed bodies, showcasing the characters' physical selves as beacons of control and eventual terror.
Tony Scott understands that vampires aren't only sensual because of their methods, but because of a long-standing rebellion against the sickly odor of death. John (David Bowie) and Miriam (Catherine Deneuve) exist with a special degree of grace, one that's toiled with immorality and grasped the nature of themselves, but when that safety net is ripped away, their ghostly stature collapses into a void of frail conclusions and spiritual beginnings.
One of the best of the 80s.
I’m the same as catherine deneuve in this movie. I like bauhaus and I keep all my exes crumbling away in coffins lining the walls of my basement
"She's European."
Thing that bugs me most about a lot of modern blockbusters, more than ugly CGI or endless reboots, sequels, and derivative pablum is the sense that I'm being fed a too-large portion of something I don't even like to begin with. Pages and pages of exposition that has no emotional impact whatsoever, dense mythologies that only exist as window dressing or time filler. So it's interesting to watch this, the feature film debut of a director who many would call one of the blockbuster era's worst criminals, and realize that it's so refreshingly spare and atmospheric. We see just enough plot to get what's going on, the rest is given over to light, shadow, eroticism, distorted guitar riffs,…
UNDEAD UNDEAD UNDEAD
Sleek and daring debut from Scott is a hypnotic visual feast for the eyes and ears—with plenty of gleaming lights peaking through shades of hazy rooms while ambient, classical, or goth rock that soundwave the sexy, sultry moods of gloom that The Hunger radiates. Feels like Daughters of Darkness or a bigger budgeted Jean Rollin film—updated to an 80’s Hollywood goth pop art film high on style and eroticism... steeped in a meticulous atmos that seethes with the sadness of lifes withering frailty.
The Bauhaus (Top 5 favorite bands for me) opening is a banger and Bowie destroys me in this more than Oldman or any other vamp actor could (exception might be the girls in Two Orphaned Vampires), Conjuring up the kind of seeding emotion that plants roots in you... basically the vibes usually only found in French vampire films. Fantastique.
I love this movie!
