Vampires have become an emerging trend on television and movie screens in this day and age. There are those who own hotels (“The Interview with the Vampire”), those who are polyamorous and live in Staten Island (“What We Do In The Shadows”), and some who dance ballet whilst finding methods to torture their adversaries (“Abigail”). Nowadays, there are different interpretations of what modern-day vampires will look like. The storytellers are broadening these angles by understanding the life of vampires and what lies beneath the blood-sucking life they lead. Following this line of thinking, Ariane Louis-Seize’s charming “Humanist Vampire Seeking Consenting Suicidal Person shines up a fresh look through the eyes of a practicing peaceful vampire by skewering vampire lore right through the heart.”
Unlike her family members, a bloodthirsty family, Sasha, a vampiress hailing from Quebec in Canada always felt disgusted at the thought of consuming flesh which pretty much explains her decision. A brutal case of PTSD caused by a clown family and a comical buffet on her birthday renders her incapable of ever trying to partake in any activity remotely similar to this ever again. Now it feels as if the longing to consume blood she used to possess has been replaced by the feeling of empathy, and as a result, she is barring herself from ever letting her fangs show real emotion.
Sasha shows a tendency towards pacifism and a discriminating approach to blood, but she still requires a little sustenance. The film is set ten years after the events of the first installment of the vampire partisan war, at the time, Sasha finds herself in a family with Steve Laplante and Sophie Cadieux Sasha is 68, presenting herself as a contemporary teenager of this age. Unlike the previous incarnation, the Caprisun-shaped blood pouches conveniently went out of fashion and Sasha’s family had to refill their pantry. ‘Cause they were tired of Sasha filling up without being helped at all, Sasha had to go move into the home of her stylish yet emotionless elder cousin, Denise. Noémie O’Farrell portrays Denise in the movie and is seemingly successful with the hunt of humans. The bloodthirstiness of young vampires is utterly inexplicable to teenage girls who are chasing the latest human hunting techniques. First, teenage girls regard these activities as so boring, and second, the animosity towards blood is still incredibly powerful for teenage girls.
Paul, on the other hand, is everything except a teenager full of metahuman powers. He is sweet, has been bullied all his teenage life, and pleasingly ignores the sociopathic teenagers assaulting him for amusement, including his school’s principal. Paul works at a nearby bowling alley alongside his main bully, Henry, played brilliantly by Arnaud Vachon.
One day, Sasha tracked down Paul at his workplace and shocked him with her goofy look having fangs for a crazy clown he still ran. Diving headlong into a container of hides, Paul cradled a pair of baseball gloves and adorably waited for Sasha to leave. Consequently, Paul and Sasha’s worlds came together while seated at a suicide help group wherein a promise was made shoving their palms in their pockets, Paul offered Sasha supplies so that she could scoop in an unrestricted quantity of food without compunction and he could finally breathe his last.
The framework of the movie fundamentally revolves around Sasha and her ability to visually conquer her surroundings because its main protagonist, Sasha is depicted as youthful and feral. And all she deeply wished for was to drown in humanity, not cause death, and without feeling any self-guilt, why wouldn’t wanting to fit back into your family not be a reasonable motivation to fuel incest and necrophilia?
Sasha’s problem becomes clear when looking at the woman who has created her. Louis-Seize takes on an almost Shakespearian approach to the character, explaining her awkwardness through a new mental state. She is a polar blend of Gen-Z and a remorseless mythological entity, something the revolutionizing world grips too fully. He stylistically personalizes Sashas’s worldview by toying with lights and sound, signaling some of their inner desires or turning lonely outbursts into a more verbal form. The same sentiment applies to Sasha’s emotional therapy human friend which brings us to Paul, whose loneliness and longing for depth is also resonant and explored. Christine Doyon and Louis-Seize’s script, while not unlike Sasha’s fascinating, does substantial work to bring them together and spark their connection.
Sara Montpetit makes an impressive entrance with a captivating performance. She does not hold back when it comes to showing intense and pure self-guidance If the situation demands it, she does not hold back when it comes to remorse and heartbreak, and she goes above and beyond to make it realistic, much like a young French-Canadian version of Winona Ryder who does not need convincing. She makes use of glares, anxiety, and sarcasm rather effectively. He makes Bénard a major scene partner, as Bénard portrays the character’s humanity and humor that is able to match the tone of the film. Because of the hopelessness of his character, and the way he physically portrays Paul, he is always portrayed as likable, which makes him more relatable.
The film revolves around Sasha and Paul but exploring their lives and their characters took time, which is also the core issue as it makes the film visually imbalanced. However, this stage shifts the focus to the second act where the characters Sasha and Paul try to execute some of Paul’s last wishes from his dying wish. Even with such elements of the film, Humanist Vampire Seeking Consenting Suicidal Person displays immense wit throughout and stands as a great entry point for viewers who are new to vampire horror films. The film delves into and suffocates itself in gore with some selfless leading and talented heroines who serve as the blood-soaked centerpiece for Louis-Seize serving ammy relatable humor.
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