Film Review: ‘Humanist Vampire Seeking Consenting Suicidal Person’ directed by Ariane Louis-Seize
Rating: ★★★★☆
Ariane Louis-Seize’s film, “Humanist Vampire Seeking Consenting Suicidal Person,” challenges established vampire tropes, offering a unique narrative intertwined with elements of humor. It captivates its audience through engaging characters and a compelling storyline, ultimately delving into the essence of humanity itself.
The film introduces us to Sasha, a young vampire who defies convention by being too sensitive to take life. Her family, exasperated by her inability to feed, cuts off her blood supply, endangering her existence. However, fate intervenes when she encounters Paul, a lonely teenager grappling with suicidal tendencies. Paul, driven by a profound sense of despair, willingly offers his life to save Sasha’s. This seemingly altruistic pact evolves into a nocturnal odyssey as they embark on a mission to fulfill Paul’s final wishes before the break of dawn.
From its very beginning, the film ensnares the viewer with a captivating narrative. Sasha’s character is skillfully crafted, portraying a child whose heart brims with humanity, in stark contrast to the traditional vampire archetype. She forms a poignant bond with a clown, unaware that he is destined to be the family’s prey. This connection with humans becomes a source of stress, anxiety, and fear for Sasha, akin to post-traumatic stress disorder (PTSD), as poignantly noted by a vampire doctor within the film.
Sasha’s family, driven by their own agenda, compels her to cohabit with her cousin in a quest to unearth her vampire identity. However, her aversion to hunting and her preference for consuming the family’s refrigerated blood supply raise unique challenges.
The film redirects the audience’s focus towards Paul. The similarities between Sasha and Paul appear striking, kindling the expectation of a romantic entanglement. Sasha’s past trauma from her childhood memory of her family killing the clown, Rico the Rooster, prevents her from harming humans, while Paul, deeply marginalized by society, grapples with a profound lack of self-worth and a yearning for death. Sasha contemplates suicide as an alternative to killing humans and believes that Paul’s willingness to die willingly enables her to take his life with his consent, thus laying the foundation for their unusual relationship.
However, “Humanist Vampire Seeking Consenting Suicidal Person” is not a narrative simply driven by Sasha’s pursuit to kill Paul. Rather, it unfolds as a profound journey of self-discovery and redemption. The film becomes a canvas where Sasha confronts her childhood trauma, and Paul rediscovers his self-esteem and zest for life. Together, they learn the art of compassion and self-sacrifice, exemplified in a poignant scene where Paul offers his own blood to satiate Sasha’s hunger.
In a climactic turn, Paul requests Sasha to transform him into a vampire, encapsulated in the film’s evocative title, written creatively by Paul himself: “Humanist Vampire Seeking Consenting Suicidal Person.”
Despite their transition into vampires, the film ingeniously navigates a path for them to sustain themselves without taking human lives.
The screenplay, crafted by Christine Doyon and Ariane Louis-Seize, is a highlight of this cinematic experience. Cinematographer Shawn Pavlin’s adept use of lighting, featuring a harmonious interplay of red and blue hues in alignment with the vampire theme, accentuates the film’s atmosphere. The judicious application of warm and cool lighting adds depth and texture to the storytelling.
In conclusion, “Humanist Vampire Seeking Consenting Suicidal Person” is a thought-provoking and refreshing take on the vampire genre. It challenges conventions, prompting viewers to contemplate the boundaries of humanity. With its compelling characters, intricate narrative, and skillful craftsmanship, this film invites audiences to explore the profound facets of identity, compassion, and sacrifice.
