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The Hunger

The Hunger

Horror · Drama · 1983

Five-thousand-year-old vampire Miriam promises her lovers the gift of eternal life. When John, her cellist companion for centuries, discovers that he has suddenly begun growing old, he attempts to seek out the help of Dr. Sarah Roberts, a researcher on the mechanisms of aging.

Movie details

The Hunger

“Nothing human loves forever.”

1983 Horror · Drama 1h 37m

Critical arithmetic

One number, for now.

TMDB

6.7 / 10

Community rating

Five-thousand-year-old vampire Miriam promises her lovers the gift of eternal life. When John, her cellist companion for centuries, discovers that he has suddenly begun growing old, he attempts to seek out the help of Dr. Sarah Roberts, a researcher on the mechanisms of aging.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Hunger?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Tony Scott

Written by

Michael Thomas · James Costigan

Catherine Deneuve

Catherine Deneuve

Miriam Blaylock

David Bowie

David Bowie

John Blaylock

Susan Sarandon

Susan Sarandon

Sarah Roberts

Cliff DeYoung

Cliff DeYoung

Tom Haver

Beth Ehlers

Beth Ehlers

Alice Cavender

Dan Hedaya

Dan Hedaya

Lieutenant Allegrezza

R

Rufus Collins

Charlie Humphries

Court is in session

Put The Hunger on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Popcorn Loyalist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.