Let me just start with the music of this film. From the movies I’ve seen — from the movies I’ve loved — out of Sweden, most of the music has been the same level of excellence throughout — each note of it falls so lightly, so damn mournfully — it’s ice, it’s snow, it’s groping desperately in the mist — but at the same time it’s euphony — its tears of absolute rapture at the end of a tragedy when the snow falls lightly on the corpses of the slain and your disgust, your ambiguity, your irony is transfixed and transformed into mourning for the beloved dead.

Christ. Anyway. You can tell that if I get so worked up about the damn music of a film that I ought to get worked up about the film itself. It’s true. The film is Let the Right One In – “a Swedish vampire flick” (or so I called it before I watched it). No point telling you what its about. It presents an infinitely complex web of social and moral ambiguities: violence, murder, rape, pedophilia are all crystallized by affection, by love and it leaves you.. in an empty train, the windows flung open, traveling as fast as you can, as far as you can, away from home.

Please dont watch a trailer on YouTube, let the violence come without warning, without suspect. It needs to come like love. To be clear, this film is not perfect, it is not an archetype, but it is very good. Watch it.

Let the Right One In (Swedish: Låt den rätte komma in) is a 2008 Swedish romantic horror film directed by Tomas Alfredson. It is based on the novel of the same name by John Ajvide Lindqvist, who also wrote the screenplay for the film. It tells the story of a bullied 12-year-old boy who develops a friendship with a vampire in Blackeberg, a suburb to Stockholm.

from Wikipedia