Just perfect...

Disappointment for a huge fan!

It's fun, it's light, [but] it has a hard time when its tries to get heavy.

One of the worst ways to make a cult movie is to set out to make a cult movie.

I was thinking this movie was going to be a lot like "The Company of Wolves", a movie I love. It turned out pretty differently.The Company of Wolves. Despite having symbolism and much of it being a dream/fantasy of a adolescent girl it also had a storyline and an incredible fairy tale setting.Valerie and her Week of Wonders. From the moment I saw pretty main character Valerie I knew I was in for a visual treat. The only thing in a narrative way that I'm really sure of is that she got her periods for the first time. The rest of the movie looks much like a dream. Fairy tale esque village and woods, fountains, pretty girls in white dresses, vampires, high level of sensuality, kissing, touching (not shying away from things that looked incestuous and lesbianism) even a bit of nudity.The story it didn't make much sense, I think it was after all a dream (and how often does a dream make sense?) and the viewer is free to give its own interpretation to it. Even though I usually like a pretty clear storyline I did like this movie. For some reason whatever Valerie did, experienced or observed it was never boring. I'm sure on a re-watch I'll gain even more from it.

A potent mix of straight sex, lesbianism, incest, pedophilia, vampirism, paganism, wiccan practices and other assorted deviancy. A lot of symbolism is used, so that reality merges with fantasy and the material world merges with the virtual. As the film progresses, it is never very clear as to who the villain is, and who is the virgin. However, one premise is obvious: almost everyone lusts after the female protagonist, and although she appears angelic, she is also no stranger to the wiles of men, including lustful priests, vampires and even her own father or brother. Watchable, at least once, for the waif-like beauty, Valerie, and her forays into a mystical, magical and surreal world, where corpses converse with the living, and brothers lust for their sisters.

Often I get things I've wanted to see for some time, but for one reason or another never did. Or something I've seen before, but it was a long time ago, and I'd like to see again. Especially if there are DVD extras I HAVEN'T seen.Sometimes, though, I like to get something I've never heard of, something which the blurb makes sound interesting, something which seems like it *might* be the sort of thing I might like, but which is a bit of a risk. Sometimes this results in my mailbox sagging from the dead weight of a real clunker, and I find myself wishing I hadn't been so adventurous.But sometimes I wind up seeing something like _Valerie and Her Week of Wonders_, and I'm glad that I *was* adventurous. This easily makes up for the last clunker, no, for the last TWO clunkers I got in red envelopes.Is Valerie dreaming? For somebody being burned at the stake, this barely-teen seems rather unconcerned. Is her father a dead bishop, a vampire, or the Weasel? Or is the vampire a bishop? Or is the bishop the Weasel? Is Eagle her boyfriend? Her brother? Is her mother not really dead, or is it that her cousin? How did she know that her cousin is actually...Can Valerie evade lusty priests, incest which maybe isn't, and beware the Weasel? Can the girl ever get a good night's sleep? Or is she getting exactly that, now?

Jaromil Jires's decidedly dreamlike Czechoslovakian film Valerie and Her Week of Wonders, takes place in the countryside, as Valerie visits her relatives at their turn-of-the-century estate, only to find that they are vampires, engaging in a sort of ecstatic summer orgy into which Valerie will be initiated. Valerie and Her Week of Wonders is a deeply eccentric text, infusing a coming-of-age story with Edenic concepts of purity and lust, inclusion and banishment, into a sensuous tapestry in which nothing is as it seems.Written by Jires, Ester Krumbachova, and Vitezslav Nezval, the films brevity and its seductive mise-en-scene sumptuously photographed by Jan Curik, make the film seem almost an outlaw project, or an act of social criticism designed to "enforce atheism by embracing an anti-Catholic stance, particularly in relation to sexual morality. Yet the films embrace of sexual excess, and the almost fetishistic depiction of bodily fluids, color, light , flesh tones, and gauzy fabrics, bespeaks an atmosphere of absolute sexual license, rather than creating a fantasy world of repression. In many ways, Valerie is very much like Alice in Alice in Wonderland, reacting to the bizarre circumstances that unfold before her.The film begins with an image of Adam and Eve, and Valerie is often seen eating apples in close-up, her overripe lips lingering over the succulent fruit with undisguised satisfaction. Thus Valerie provides us with an image of feminine desire before and after the fall of Eden but without the attached blame that Eve shoulders in Western Christian mythology. Instead, Valerie is seen by the film as a giver of life, a force of purity too intense to be corrupted, while her grandmother becomes a vessel of corruption. This is a film that is deeply tied to nature at its most gloriously ripe season, summer, and Valerie herself partakes of this lushness with direct and unabashed delight.Valerie and Her Week of Wonders presents a world in which all is allegory, ones relatives may be vampires, and all authority figures are suspect; in the opening minutes of the film, a priest enters Valerie's dazzlingly white bedroom and almost immediately tries to rape her. Valerie extricates herself from the priest's attack but remains justly suspicious of authority for the rest of the film. What protects Valerie, above all other things, is her connection to nature, which preserves her position within the film as a force of hope within a crumbling family structure.In many ways Valerie and Her Week of Wonders can be read as a more sexually explicit vision of the coming-of-age narrative, centering on the freedom of youth, than its numerous American and British counterparts. Valerie emerges triumphant at the end of the film, despite all adult attempts to corrupt her, and the purity and innocence of her metaphoric quest is valorized by the film's ambiguous conclusion, in which all the films events are called into question; it may all have been a dream.