Conor Bryce sinks his teeth into Humanist Vampire Seeking Consenting Suicidal Person.
Into the vibrant tapestry of coming-of-age cinema, Humanist Vampire Seeking Consenting Suicidal Person is sewn as a compelling entry that deftly intertwines comedy both sweet and black.
The debut feature of French director Ariane Louis-Seize revolves around Sasha (Sara Montpetit), a vampire in eternal teenage form, grappling with an existential crisis—she’s too sensitive to kill. This dilemma is hardly new (touched on in Interview with the Vampire and Twilight, for starters), but it sets the stage for a poignant and original exploration of isolation, empathy, and the quest for connection in a flawed world.
Years after a hilariously dark encounter that sets Sasha on her pacifistic path, her parents have come to the end of their patience and cut off her blood supply. Sent to live with her enthusiastically carnivorous cousin Denise in a fruitless attempt to kickstart her vampirism, Sasha’s survival now hinges on an unlikely alliance with Paul (Félix-Antoine Bénard), a lonely teenager contemplating his own mortality. After a chance encounter during an interrupted suicide attempt on the roof of a bowling alley, they embark on a nocturnal road trip to give Paul satisfying closure before he offers up his neck in sacrifice—a way for Sasha to feed without breaking her no-kill rule.
From the outset, it’s clear that Louis-Seize is not merely telling another vampire story. With a premise as provocative as its title, Humanist Vampire speaks to what it means to be human and to be alone, navigating the complexities of mental health, touching on themes of consent and desire, and nailing the often-misrepresented struggles of youth.
Portrayed with a canny balance of teen angst and undead weariness, Montpetit’s Sasha embodies the coming-of-age dilema in a world that’s overwhelmingly adversarial, and the cadence of her interactions with Paul is cleverly layered (is she getting the first stirrings of her vampiric birthright, or is she just exasperated at his naivety?). Félix-Antoine Bénard, on the other hand, is all big-eyed vulnerability and neediness, with the added bite of a young man in deep emotional turmoil. Bénard balances dark despair with a likable innocence, his juxtaposition with Sasha working wonderfully.
Visually, Humanist Vampire complements its themes. Shot in perpetually low lighting and stark shadow, darkness is both refuge and a source of danger. The colours are muted, with pops of vibrancy occasionally breaking through, creating an ambience that effectively mirrors Sasha and Paul’s fleeting moments of joy in their otherwise oppressive existence. This stylish detachment evokes the indie films of the early ’90s, reminiscent of Jim Jarmusch and Sofia Coppola.
The movie is not without its flaws. At times the pacing falters, primarily in moments when the film feels as though it is trying to juggle too many themes, and certain elements—like Denise’s arc from unwilling babysitter to a source of support for Sasha’s dilemma, and Paul’s underwritten relationship with his mother—could benefit from more time to breathe. Moreover, while the film addresses significantly important themes, it sometimes skims the surface rather than delving deeper. The exploration of suicide, for instance, is not as robust as it could be, giving the feeling that Louis-Seize is shying away from fully engaging with a difficult topic.
Nevertheless, these imperfections do not overshadow a story that is both satisfyingly heartwarming and resonant. The smokescreen of a vampire movie lets it navigate treacherous waters with levity, deftly touching on difficult topics. Its final message is beautifully optimistic—amidst our darkest moments, the bonds we create can offer solace and understanding. Even vampires are never truly alone.
Humanist Vampire Seeking Consenting Suicidal Person is available to stream online now.
