Once a certain story has been adapted so many times, what were once tropes can sometimes turn into archetypes, and age-old clichés can be revitalized through a new perspective. Such is the case with Bram Stoker’s Dracula, a story that’s been translated to the big screen so many times that it’s become a significant part of film history. From Nosferatu to the Hammer Horror productions, this story has seen numerous updates and alterations that continue to keep it relevant in mass media after all these years. Now, first-time Brazilian director Monica Demes, with a little help from the legendary David Lynch, brings us a chilling new tale of vampiric seduction in modern times, inspired by Stoker’s classic.

Lilith’s Awakening stars Sophia Woodward as Lucy (replacing Mina Harker in a sly nod to Nosferatu) as a troubled woman dealing with feelings of repression in almost all aspects of her life. From her less-than-satisfying home life with Jonathan, played by Sam Garles, to her difficult relationship with her conservative father Abe (Steve Kennevan), Lucy feels trapped. Things change, however, when the mysterious Lilith, played by Bárbara Eugenia, begins her assault on the quiet town, leading Lucy down a dark path towards her own hidden desires.

On the surface, Demes’ script seems to be a faithful, if slightly gender-bent, adaptation of Stoker’s work. However, Lilith’s Awakening shares more in common with Joseph Sheridan Le Fanu’s Carmilla, and other less conventional works of supernatural horror that comment on traditional gender roles and society standards. In this version of the story, Lucy isn’t a helpless, submissive character being slowly corrupted by the forces of evil, but an intelligent woman that begins to question her place in life, allowing herself to be attracted by Lilith and in no need of rescuing.

Even if this discussion of gender roles doesn’t seem pleasing to some viewers, Lynch’s peculiar influence can be felt throughout most of the movie, though Demes is in constant control of the picture. The film feels slightly more lucid than most of Lynch’s work, but his “Transcendental Meditation” obviously had an effect on Demes’ writing process, which resulted in a mysterious yet satisfying final product. From the dream-like pacing of the plot to the gothic, monochrome visuals, Lilith’s Awakening certainly looks and feels delightfully eerie.

Sadly, the same cannot be said of some of the film’s casting choices. While the “indie” budget certainly had a role to play in the stiltedness of some minor dialogue, much of the film depends on the silent conveying of emotion, which wasn’t handled as well as it could have been in a few scenes. That being said, Woodward was a phenomenal choice for a strong female protagonist, and Eugenia stole the show whenever she was onscreen. It’s unfortunate that these characters don’t share more screen-time together, as I felt that their moments together were the highlights of the film.

Lilith’s Awakening definitely isn’t for everyone, but those who can appreciate David Lynch’s work will warm up to Monica Demes’ style. The gothic visuals and impressive story more than make up for any minor flaws, and I look forward to seeing more of the director’s projects in the future, as long as they’re as stylish as this one. Lynch himself has made more than enough contributions to the film world, but it’s always pleasant to see a master of the craft pass his teachings along to a new generation, as this film was produced through the David Lynch MFA in Film Program.

Lilith’s Awakening will be premiering at the Dances with Films festival on Saturday, June 11^th.