Interview: Ulrike Ottinger • Director of The Blood Countess - “I Always Start with the Image” - Luxembourg 2026

Key Takeaways

• Script originated 1998, filmed after 28-year development.
• Isabelle Huppert leads as vampiric Elizabeth Báthory.
• Costume design driven by director's visual-first methodology.
• Film expands queer reinterpretation of historical legend.
• Luxembourg premiere follows Berlinale screening, boosting visibility.

Summary

Ulrike Ottinger’s long‑gestating film *The Blood Countess* finally premiered at the Luxembourg Film Festival after a script first drafted in 1998 and years of financing hurdles. The movie stars Isabelle Huppert as the vampiric Elizabeth Báthory, with an expanded rebel character and highly stylised costumes that stem from Ottinger’s image‑first workflow. The director frames the legend through a queer lens, emphasizing fantasy over strict historical accuracy. The film’s Berlinale screening and Luxembourg debut signal a strong festival push for the European art‑house market.

Pulse Analysis

Ulrike Ottinger’s *The Blood Countess* illustrates the challenges and rewards of long‑term European film development. Originally written in 1998, the screenplay lingered in funding limbo for nearly three decades before securing the resources needed for production. This protracted timeline underscores the precarious nature of art‑house financing, where cultural grants and private investors must align. By finally reaching the Berlinale and Luxembourg Film Festival, the film validates the persistence of auteur‑driven projects in a market dominated by streaming giants.

Visually, Ottinger adopts a "start with the image" philosophy, collaborating with costume designer Jorge Jara Guarda to craft a hyper‑stylised wardrobe that defines Huppert’s Countess. The director’s pre‑visualisation process—filled with sketches, photographs, and material collages—translates into opulent velvet gowns and striking jewellery that amplify the character’s mythic presence. Huppert’s performance blends menace with subtle comic beats, reflecting her evolution from psychological dramas to more eccentric roles. The film’s queering of Elizabeth Báthory, portraying her attraction to women and complex family dynamics, adds a contemporary gender‑politics layer to a centuries‑old legend.

The strategic festival rollout amplifies the film’s commercial prospects and cultural relevance. A Berlinale screening generated buzz among critics, positioning the movie for awards consideration and potential distribution deals across Europe and North America. Its Luxembourg premiere further cements Ottinger’s reputation as a visionary director capable of marrying historical myth with modern sensibilities. As audiences seek nuanced, visually rich narratives, *The Blood Countess* offers a compelling case study of how legacy projects can find new life and impact in today’s competitive cinematic landscape.