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Dracula
Movie

Dracula

2025 • Fantasy, Horror, Romance

Woke Score
5.8
out of 10

Plot

When a 15th-century prince denounces God after the loss of his wife he inherits an eternal curse: he becomes Dracula. Condemned to wander the centuries, he defies fate and death, guided by a single hope - to be reunited with his l...

Overall Series Review

The 2025 adaptation of Dracula, directed by Luc Besson, is a Gothic romantic fantasy that foregrounds the tragic love story between Prince Vladimir/Dracula and his wife's reincarnation, Mina. The film's primary thematic conflicts revolve around eternal love, defiance of fate, and the relationship with Christian faith. It is less concerned with contemporary social commentary and more focused on visual spectacle and emotional drama, drawing heavily from the 1992 Coppola romantic-horror style. While the central narrative is a traditional, heterosexual love story, and there is no evident deconstruction of Western civilization in a broad political sense, the theme of Anti-Theism is central and aggressive. Prince Vladimir's curse is directly caused by his blasphemous renunciation of God following his wife's death, and the antagonist is a Christian Priest/Van Helsing figure whose 'righteousness is dangerous.' In terms of Identity Politics and Feminism, the film largely eschews modern 'woke' tropes in favor of traditional romantic archetypes, though some casting is color-blind. The overall score is driven primarily by the high degree of Anti-Theism baked into the central conflict of the plot.

Categorical Breakdown

Identity Politics4/10

The core narrative is not driven by race or identity hierarchy; it centers on a cursed European prince and his reincarnation. However, the non-traditional casting of Ewens Abid as Jonathan Harker in a predominantly European historical setting is a moderate insertion of diversity, but there is no evidence the plot exists to lecture on privilege or vilify 'whiteness.' The conflict is supernatural/romantic, not socio-political.

Oikophobia3/10

The central conflict is Prince Vladimir's personal war against *fate* and *death* for the sake of his wife, not a hostility toward his home or ancestry. He is a European prince of Wallachia, and while he is cursed, the curse stems from renouncing God, not from his culture being fundamentally corrupt. The theme respects the institution of marriage and the devotion to family.

Feminism4/10

The story is an anti-natalist dark romance where a powerful man (Dracula) pines for his lost love (Elisabeta/Mina), a traditional, non-'Girl Boss' dynamic. The female lead (Mina/Elisabeta) is the object and catalyst of the entire plot, not an instantly perfect 'Mary Sue' hero. The focus is on finding a lost *wife* (celebrating a traditional pairing), not on a woman's career fulfillment over motherhood. A score of 4 reflects the central female role as being one of 'fragility wrapped in fire,' a romantic object, rather than an emasculating force.

LGBTQ+1/10

The plot's single guiding force is the eternal, heterosexual love between Prince Vladimir and his wife/reincarnation, Mina Murray. There are no overt plot points, characters, or themes reported in available plot summaries that center on alternative sexualities, deconstructing the nuclear family, or gender ideology lecturing. Score reflects a completely normative structure based on the available information.

Anti-Theism10/10

The premise of the film is the highest possible score. The Prince of Wallachia's act of renouncing God after his wife's death is the literal source and cause of his eternal curse and transformation into Dracula. This directly frames 'traditional religion' (Christianity) as the entity whose judgment and action (the curse) created the world's greatest monster, and the film's antagonist, the Priest/Van Helsing figure, is described as turning 'faith into a weapon,' making 'righteousness feel dangerous.' This is a 10/10 according to the definition: 'Traditional religion is the root of evil.'