far as slamming her to the floor and psychically and sexually assaulting her by biting her vagina. Barbara De Rossi also stated in the documentary Kinski in Italy that she was "assaulted one day. He never respected the script and he was always physical when he had something to do with women. [During filming] he grabbed my breasts and he hurt me." and that "It was a mess. We were really scared. We never knew what could have come out of any scene." According to Cozzi, at one point the entire crew abandoned the set in protest of Kinski who later apologized for his behaviour. After six weeks of shooting in Venice, Caminito only had filmed about half the films script set in Venice and had an entire third of the script to film elsewhere. Caminito could not film any further and attempted to compile the film from what footage he had shot. Release A day prior to its premiere, Caminito claimed Vampire in Venice to be one hour and forty-six minutes in length. The copy submitted to the ratings board had a 98-minute running time and current home video copies run at 89 minutes. It premiered at midnight on 9 September 1988 at the Venice Film Festival where it was shown out of competition. Cozzi stated that Vampire in Venices presence at the festival had more to do with Caminito's status as a major film producer and did not have to with the artistic quality of the film. It was distributed theatrically in Italy by Medusa in 1988. Matthew Edwards, author of Klaus Kinski: Beast of Cinema commented on the film's commercial performance in Italy as being "a box-office disaster". The film was later released in English territories as Prince of the Night in the United States and Nosferatu in Venice. Vampire in Venice was released on home video by the distributor First Fright in 1991. The film was released on DVD in the United States by One-7 Movies as Prince of the Night on September 9, 2014. The film was released on Blu-ray in the United States by Severin Films as Nosferatu in Venice on March 30, 2021, with a running time of 93 minutes. Reception From contemporary reviews, a reviewer credited as "Yung." of Variety reviewed the screening at the Venice Film Festival, stating that the film was "more kitsch than horror" while praising Tonino Nardi's camerawork