A young woman vampire is unable to kill to meet her need for blood, but may have found a solution in a young man with suicidal tendencies.
In a world oversaturated with dark, brooding vampire narratives, Humanist Vampire Seeking Consenting Suicidal Person emerges as a breath of fresh air. Directed by Ariane Louis-Seize, this film reinvents vampire mythology through a lens of compassion, humour, and teenage angst. It delivers a touching yet comedic coming-of-age story that balances absurdity with realism, making it a stand-out addition to the genre.
At the core of this film is an intriguing premise: a compassionate vampire, Sasha, played brilliantly by Sara Montpetit, is in a moral quandary. Unlike traditional vampires driven by an insatiable hunger for blood, Sasha lacks the instinct to kill. In fact, her vampire fangs only emerge when she feels true hunger, but her compassion for humanity prevents her from feeding. This unique twist on the vampire mythos immediately sets the film apart from its predecessors, creating a character whose internal conflict is both relatable and heart-wrenching.
Sasha's predicament becomes even more complicated when she meets Paul, a suicidal teenager played by Félix-Antoine Bénard. Paul is a victim of bullying and loneliness, whose life has become so bleak that he no longer sees the point in carrying on. The two form an unusual bond, and Paul eventually asks Sasha to kill him, setting the stage for a delicate dance between life and death. The film skillfully weaves this dark subject matter with light-hearted humour, creating a narrative that is both touching and entertaining.
What makes Humanist Vampire Seeking Consenting Suicidal Person truly special is its ability to explore heavy themes without becoming overbearing. The film addresses issues like bullying, depression, and suicidal ideation with sensitivity and care. It never trivializes these serious topics, yet it manages to infuse them with a sense of hope and humour. This balance is a testament to the skill of director Ariane Louis-Seize, who co-wrote the screenplay with Christine Doyon.
The film’s humour is subtle and often stems from awkward situations rather than outright jokes. This approach allows the audience to engage with the characters on a deeper level, as the humour feels natural and unforced. There is a fine line between comedy and tragedy in this film, and Louis-Seize walks that line masterfully. The laughs are gentle and never overshadow the emotional depth of the story, creating a viewing experience that is both enjoyable and thought-provoking.
One of the film's strengths is its focus on character development. Sasha and Paul are both deeply flawed and relatable characters, whose struggles with their respective identities create a powerful connection between them. Sasha’s internal conflict between her vampire instincts and her moral compass is portrayed with nuance, while Paul’s apathy toward life is a reflection of the pain he has endured. Their unlikely friendship is the heart of the film, and the chemistry between Montpetit and Bénard brings this dynamic to life in a believable and moving way.
Sasha's family, though somewhat in the background, adds another layer to the story. Her parents, played by Steve Laplante and Sophie Cadieux, are traditional vampires who want nothing more than for their daughter to embrace her true nature (her father is the gold standard of a supportive, but overprotective parent). Their dynamic as a family is both humorous and poignant, as they grapple with Sasha’s reluctance to kill. Her mother, in particular, is a standout character, trying to help Sasha find independence while still holding onto the hope that she will eventually accept her vampire instincts. The familial interactions add depth to the narrative, providing moments of levity and warmth amidst the darker themes.
Visually, the film is a treat. The production design, costumes, and lighting choices all work in harmony to create a world that feels lived-in and authentic. The eclectic costuming reflects the film’s unique tone, blending modern teenage fashion with elements of Gothic style that suit the vampire theme. The lighting, too, is carefully considered, with each scene bathed in hues that reflect the emotional undertones of the story. These artistic choices contribute to the film’s overall atmosphere, making it both visually and emotionally engaging.
The film’s exploration of vampire lore is both respectful of tradition and innovative in its approach. It incorporates familiar elements of vampire mythology, such as the need for blood to survive, but it does so in a way that feels fresh. By focusing on the ethical implications of Sasha’s existence—particularly the cost of living at the expense of others—the film offers a new perspective on the vampire narrative. This introspective approach is what sets Humanist Vampire Seeking Consenting Suicidal Person apart from other entries in the genre.
Sara Montpetit’s performance as Sasha is nothing short of captivating. She embodies the character’s internal struggle with grace and subtlety, conveying a wide range of emotions through her expressions and body language. Whether she is grappling with her desire to live without harming others or navigating her awkward relationship with Paul, Montpetit’s portrayal is both compelling and relatable. Her breakout performance is one of the film’s highlights, adding emotional depth to the narrative.
Félix-Antoine Bénard is equally impressive as Paul. His portrayal of a teenager who has been beaten down by life yet still finds solace in his friendship with Sasha is both heartbreaking and heartwarming. Bénard captures the essence of a character who has given up on life, but whose connection with Sasha reignites a spark of hope, however faint. The chemistry between Montpetit and Bénard is palpable, making their relationship feel genuine and poignant.
Despite its exploration of dark themes, Humanist Vampire Seeking Consenting Suicidal Person is ultimately a film about compassion and connection. It reminds us that even in the darkest of times, there is always room for kindness and empathy. The film’s delicate handling of these themes, combined with its humour and charm, make it a truly unique viewing experience.
Humanist Vampire Seeking Consenting Suicidal Person is a refreshing addition to the vampire genre. Its blend of dark humour, teenage drama, and introspective themes creates a narrative that is both entertaining and thought-provoking. The film’s exploration of compassion, identity, and the ethics of life and death resonates on a universal level, making it a story that will stay with audiences long after the credits roll. With standout performances, innovative storytelling, and a perfect balance of humour and emotion, this film is a must-watch for anyone looking for a fresh take on vampire lore.
Humanist Vampire Seeking Consenting Suicidal Personis one of 105 films screening as part of the Whānau Mārama New Zealand International Film Festival (NZIFF)
The full programme of 2024 films is outlined here.
Tickets can be booked online at www.nziff.co.nz