Knowing irony infuses Guy Maddin's use of such long-moribund silent cinema techniques as masks, irises and tinting in this ballet inspired by Bram Stoker's novel, as it complements both the Victorian setting and the notions of 'undeath' and resurrection.
But this is no mere mimicking of Nosferatu's (1921) visual style, as Paul Suderman's camera and Deco Dawson's editing are as nimble as the Royal Winnipeg Ballet dancers.
Zhang Wei-Qiang is imposing as the Count, bringing menacing sensuality to his seductions, and ruthless tenacity to his joust with Van Helsing. This arty approach may dismay hard-core horror fans, but it captures the dark grace of the original with wit and style.