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.