In Vienna, 1932, Viktor, an illustrator, draws the dreams of Professor Freud’s patients. Viktor’s girlfriend Lucy happens to look like the first woman with whom Count Geza von Kozsnom fell in love. Meanwhile, the Count’s wife comes to Viktor to ask him to draw a portrait of her. This comedy creatively links psychoanalytic dreams and the mythology of vampires, on the premise that the mythology of vampires started with human fantasy. The Count uses hypnosis and the Professor shows slight symptoms of a vampire. In this way, the boundaries between the two realms become blurred, by means of the common denominator “fantasy.” Romantic relationships form another part of the film; the Count can’t forget his first love, so he hates his wife. The Countess wants her husband to say that she is beautiful. The couple keep bickering. The visual beauty of the film’s first sequence points ahead to the startling peak of the images depicting the vampires’ transformation rendered by sophisticated special effects. The scenes where the Count and the Professor communicate by using semantic ambiguity are also witty. (RHEE Soue-won)