All the Moons (2020)

All the Moons is a vampire film that trades cheap shocks for something rarer: a mournful, lyrical meditation on childhood, war, and the ache of living too long. Set in the misty forests of 19th-century northern Spain, it feels earthy and intimate, with images that linger like half-remembered dreams and a tone that’s tender even when it turns unsettling. Haizea Carneros gives a disarmingly natural performance that makes the supernatural feel heartbreakingly human, while Igor Legarreta’s direction finds quiet beauty in loneliness and longing. If you want fangs and fireworks, this isn’t that kind of night at the movies—but if you’re open to a gentle, haunting coming-of-age story in horror’s clothing, it’s quietly unforgettable.

All the Moons is clearly aiming for a poetic, folkloric vampire story that uses horror as a vehicle for grief, war trauma, and the ache of growing up trapped in the wrong time. The problem is it often leans so hard on metaphor and solemn atmosphere that the pacing can feel sluggish, and it may leave you wanting either sharper scares or a cleaner, more emotionally direct fable. If you’re expecting a tense horror ride or a tightly plotted war drama, this will likely test your patience and feel a bit self-important. But if you’re in the mood for a moody, tender, Basque-tinged gothic tale with strong performances and striking imagery, it has enough quiet beauty to justify the slow burn.