Art movies often resemble sexploitation films with plusher production values, and the elegantly depraved Walken & Mirren in 'The Comfort of Strangers' strongly recall Bowie & Deneuve in 'The Hunger'. Some of the set pieces like Walken's picture gallery of photos of Rupert Everett could have come straight from an Italian 'giallo' of the seventies; while the conclusion would have been 'rationalised' by Jesús Franco as a vampiric rite rather than as the culmination of homoerotic infatuation.
Review of The Comfort of Strangers
