Sasha is a young vampire with a serious problem: she’s too sensitive to kill. When her exasperated parents cut off her blood supply, Sasha’s life is in jeopardy. Luckily, she meets Paul, a lonely teenager with suicidal tendencies who is willing to give his life to save hers. But their friendly agreement soon becomes a nocturnal quest to fulfill Paul’s last wishes before day breaks.
“Humanist Vampire Seeking Consenting Suicidal Person” had its North American premiere at TIFF 2023’s Next Wave Selects after premiering at this Year’s Venice Film Festival.
Do not let the wordy title deter you – this outrageous horror-based coming-of-age comedy with just the right touch of teen romance – is extremely well-made and bloody funny. Co-written by director Ariane Louis-Seize with Christine Doyon, the pair perfectly balance vampiric lore, touching dramatic moments, and plenty of dark existential humor. Their endlessly entertaining screenplay cheekily bites into some homages but stands firmly on its own.
Sasha (Sara Montpetit, marvelous as the lead) is a thoughtful vampire unwilling to kill – so naturally, her ancient undead parents are concerned. They take her to a psychiatrist who essentially “Clockwork Oranges” Sasha with violent images as she is hooked up to various biometric machines. Although killing does not come naturally, playing music does. Sasha is a piano prodigy. At night, she plays her chic keyboard on the city’s sidewalk, filling the street with moody covers of classical compositions. Since she does not feed directly on humans, Sasha sucks on blood bags like juice boxes. When caught experimenting with food made by humans, Sasha’s parents sit her down like it’s the “don’t do drugs” speech.
The supporting cast playing the vampiric family are all great in their roles and well-written. As is Paul (Fèlix-Antoine Bènard), the titular suicidal person. Only the French – or, in this case, French-Canadians – could portray the morbid themes of depression, suicide, and untimely deaths so thoughtfully and funny. In the United States, it is still too taboo. The only recent American comedy to tackle these dark themes was Jerrod Carmichael’s underseen “On the Count of Three.” After its premiere at Sundance, it seemed either no one knew how or wanted to try to market it. Regardless, it would pair quite well as a double feature with this film.
She fears that Sasha will not conform and could starve if her mother stops bringing home the blood bags, and her parents send her away to her very independent and insatiable cousin. Her cousin’s hypersexuality – appropriately interlinked with the drive to kill – forced on Sasha appeared to be a commentary on conversion therapy, where religious groups try to change a person’s sexual orientation or nature.
Aside from her atmospheric piano covers, the film’s composition by Pierre-Philippe Côté is gorgeously arranged. Similar to the film’s cinematography, the score captures an autumn day in Canada; the flutes and piano are forlorn – yet full of warmth. Near the end, the score’s strands of synths evolve into a tapestry of lush and meditative soundscapes. And last but not least, the soundtrack is also superb. While sitting in picturesque rooms, Sasha listens to Miles Davis’ composition of Louis Malle’s doomed “Elevator to the Gallows,” the haunting album inspired by “The Shining” by The Caretaker, and “Emotions” by Brenda Lee.
As Sasha grows closer to Paul, her fangs begin popping out, and she is overwhelmed by the urge to penetrate his jugular. As Mary Wild (my favorite psychoanalyst of film who would explain these themes better than my 101 self) has taught me to discuss prior films – “Humanist Vampire Seeking Consenting Suicidal Person” deals with the life instinct, Eros and Thanatos, the death drive. And not many genres are more suited to handle these drives than horror, especially its vampire subgenre.
Ultimately, this is a heartwarming film that avoids being sappy. Its abundance of humorous action is elegantly framed, lit by yellows and reds, and complemented with some proper haunting atmosphere. And the vampirism onscreen must be contagious – because I could consume this film repeatedly.
“Humanist Vampire Seeking Consenting Suicidal Person” recently had its North American Premiere
at the 2023 Toronto International Film Festival’s Next Wave Selects
