by Feng

This post from Montevidayo about Let the Right One In made me think about seams. The post made nice links between anachronism/seams-in-time and the seams in Eli’s vampire-child body.

I really loved this movie when I saw it. It has a great color palette.

I find Eli’s body interesting because of its displaced sexuality… she can never go through puberty. Joyelle says “Eli’s removal from reproductive futurism is signified by the removal of her genitalia, which leaves a visible seam in her body, just as anachronism is a visible seam at which would-be separate time periods come into contact.” As a female who never menstruates, and instead must consume the blood of others to survive, she is the opposite of “reproductive futurism”. I am fascinated by the way her body invites/causes seams to break in other bodies. A seam that breeds other seams. Oxymoronic reproductive infertility / productive failure. Eli is death/drive, the period without periods, seam that is bled into rather than out.

Reminds me of this:

the Healing of St. Thomas by Anish Kapoor (I’m obsessed with AK)…

ANISH KAPOOR: Exactly, and to bring colour into space. I think, if I might be so bold as to dare to put myself in that lineage, I’m interested in the idea that form in a sense turns itself inside out, that the inside and the outside are equivalent to each other, that we don’t just enclose. The form is continually in a warp, and continually turning itself inside out. Now I have a feeling that’s a very contemporary idea about form.

JOHN TUSA: I’m interested you mentioned phallic because I get the impression sometimes that when people look at your works, the one thing that they feel they can’t quite mention in their English way is that of course they are womb-like. Womb-like is the easy bit. Vaginal and things like that.

ANISH KAPOOR: Anti-phallic, the opposite of Brancusi. Inward. Downwards.

JOHN TUSA: Downwards!

ANISH KAPOOR: If one took a platonic model, one might say the back of the cave, away from light towards darkness.

JOHN TUSA: But you actually penetrate to the back of the cave, and penetrate is the word.

ANISH KAPOOR: Rather than the front of the cave, which is light and forward and out towards the open world.


I would call Let the Right One In an “anti-phallic” film. It is anti-linear, implosive, anti-seminal. It draws, rather than penetrates. The seam is an opening and a closing. I’m not done thinking about this, but I’m going to go to bed now and leave this post with the following lines from Gertrude Stein which can be found in the beginning of Reines’ “The Cow”:

Sucking is dangerous. The danger of sucking.

I am interested in all that suck.