When Oskar, a sensitive, bullied 12-year-old boy, meets his new neighbor, the mysterious and moody Eli, they strike up a friendship. Initially reserved with each other, Oskar and Eli slowly form a close bond, but it soon becomes apparent that she is no ordinary young girl.
Déjame entrar, Deixa Ela Entrar, La den rette komme inn, Morse, Luba sisse see õige, Lase sisse see õige, 血色入侵, So finster die Nacht, Lasciami entrare, Engedj be!, Deixa-me Entrar, Gir Kanıma, Ať vejde ten pravý, 生人勿进, Ystävät hämärän jälkeen, Låt den rätte komma in, Впусти меня, Lad den rette komme ind, Άσε Το Κακό Να Μπει, תן לאדם הנכון להיכנס, 렛 미 인, Pozwól mi wejść, Покани ме да вляза, Впусти мене, 血色童話, ぼくのエリ 200歳の少女, Nech vojde ten pravý, Criatura de la noche, แวมไพร์ รัตติกาลรัก, Mời Đúng Khách Vào Nhà, Legături de sânge, Neka uđe onaj pravi, Deixa’m entrar, Utzidazu sartzen
Sweden15 Göteborg International Film Festival 
AustraliaMA15+ Melbourne International Film Festival 
UK FrightFest 
CanadaR Edmonton International Film Festival 
Estonia Tallinn Black Nights Film Festival 
Netherlands16 Sweden15 
USAR 
Poland 
South Korea15 
FinlandK-15 
Germany16 
Denmark15 
ItalyVM14 
France12 
Greece Estonia UK 
PortugalM/16 
Hungary16 
Czechia12 
Hong Kong 
Japan Germany 
Switzerland16 Hungary16 Australia Canada Czechia Denmark Estonia Finland France Germany Greece Hong Kong Hungary Italy Japan Netherlands Poland Portugal South Korea Sweden Switzerland UK USA 
this is pretty good but why is that kid swimming with his mouth wide open?
The biggest mistake you can make when watching this film is approaching it as a horror film.
It isn't.
What it is, is an almost existentialist coming of age drama that explores the limits of friendship, family and love. And what I love about it is that its conclusion is that there are no limits.
Sure, there are horror elements here as its makers clearly set out to make a unique vampire film and at that they have succeeded. But they understand one thing really well. At the centre of the mythology of the vampire, made famous by Bram Stoker's novel, does not lie a horror story, but a story of tragic love, isolation and redemption.
And that is what…
"I'm not a girl."
That line by Eli still haunts me, and I think it can be taken in several ways.
The first and more obvious interpretation is that she's just reminding Oskar that she's not human. But another interpretation is far more disturbing -- she's not a girl because she's an old woman -- her body may look like she's 12, but in reality, she's very old.
Suppose you maintain that latter interpretation throughout the movie. You realize that her interactions with Oskar are calculating and manipulative. She's grooming him to be her new familiar, a role that could leave you old, lost, and broken (Eli's familiar), or driven insane (Dracula's Renfield).
[EDIT: I read the book this film…
cool how this is one of the best love stories ever shown on film
Me: umm if this is a coming of age film then where’s the pool scene???
100 minutes later: oh
The parts where Eli’s face changes ever so slightly are some of the most well-done, shiver-inducing scenes I’ve seen in a minute. Probably the best vampire movie.
sorry twilight this is the superior vampire romance !!!!
he sure did let the right one in
do not let her in, understand me? just ignore her
This review may contain spoilers. I can handle the truth.
Part of Hoop-Tober
“Are you old?” “I’m twelve. But I’ve been twelve for a long time.”
• • • – – – • • •
Loneliness is a terrible pain. It seeps into the bones and drains your world of color, of hope. You look around you and you see no one, or at least no one interested in you. You’re so afraid of being hurt, you erect a wall to keep out the pain. And the wall keeps out all feeling, ensuring the lonely condition you so desperately wish to abandon. It’s a vortex from which escape seems impossible. If only you could let someone in.
• • • – – – • • •
It’s hard not to…
"how did you get in?" "i flew."
What is most unsettling, and at the same time strangely tender to me, is how the work disarms you by conflating the purity of emerging affection with the deep cruelty of predation, staging its narrative within the liminal space where the innocence of childhood and the monstrosity of the inhuman bleed into one another; it's precisely this ambiguity that lends the film its impact, for the horror does not entirely arrive from the supernatural element but from the recognition that intimacy itself, whether in the form of a shy bond between outcasts or the eternal pact of survival, carries within it the seeds of both salvation and damnation, so that what begins as a gesture of trust becomes, nearly imperceptibly, a reflection on dependency, violence, and the possibility of love persisting even in its most corrupted and parasitic forms.
