Humanist Vampire Seeking Consenting Suicidal Person
Vampires seem to be one of those characters who have become quite popular in the world of movies or TV. The middle one is polyamorous and lives on Staten Island (“What We Do in the Shadows“), the first one manages a hotel and acts (“Interview with the Vampire“), and the last one is a ballet dancer who slaughters her enemies for fun (“Abigail“). There have been changes in the creative vision for how 21st century vampires are viewed. Thanks to stories, vampires are no longer just fanged creatures and blood suckers, they are much more developed, having other critical factors comprising their existence. In keeping with this trend, bloodchilling vampire myth of Ariane Louis Seize’s charming “Humanist Vampire Seeking Consenting Suicidal Person” writes away its wooden stake of complexity, offering an entirely new perspective through a non violent central character.
Following the footsteps of her vampire kind, Lilas Rose Cantin (Sasha), a young Quebecois self absorbed vampire never felt like Human flesh was something she wanted to taste more than once in her life. But, after her birthday when her parents had a clown theme that she thought was a nice idea but when the time came to actually do it she was overwhelmed and could not handle going out to such events, PA was a specific event accompanied with intestinal scars. Presently, the craving as her blood would have to come in for her would have turned into some sympathy to ensure her teeth do not grow out.
Beneath her peaceful demeanor and de teethivized complexion, one can still see a thirst for blood lurking within Sasha. With age 68 in human years, masquerading in teenage form a juvenile vampire, Sasha (Sara Montpetit), still stays with her parents (Steve Laplante and Sophie Cadieux), sucking on their yin-yang-shaped blood pouches. Eager to reclaim the food supplies in her home and in which Sasha barely contributes, her parents pack her off to stay with her snobby cold older cousin Denise Noemie that they hope will expand her hunting skills on people. On the other side of the same coin, Paul (Félix-Antoine Bénard) is on the contrary end. An unfortunate socially phobic teenager, he is targeted with bullying whereever he goes from his friends to even the head of his school. His primary bully is a co-worker at the bowling alley, Henry (Arnaud Vachon).
One evening, Sasha notices Paul about to commit suicide on the roof of his work place, though he does not go through with it. Out of the blue, Sashasa happens to follow him into a crane yard and frightens him with her vampiric features and he scampered into a crate. It so happens that a while later they bump into each other at a suicide assistance centre where they agree to a contract offering Sashas blood, so that Paul will not suffer from the guilt of killing Sashas blood, and can then kill himself. The film’s perspective leans into Sasha’s ‘vamp’ individualism only to demonstrate her fight against the conditions that separate them. Most, if not all, of her long blood tainted sublimated fantasies are limping beyond the horizon. Similar to Remy, a rat with a culinary ambition in a rat munching culture, or Luca still being a sea monster but feeling the urge to be a child. But to a lesser extent, that her fangs could drop so she could fit in with her family and not have to take anyone’s life anymore.
It is most clear in relation to Sasha’s problem that apparently stems from the maturation of this clashing element of todays Gen-Z culture with one of the most sanguinary of the mythological embellishments. Louis-Seize vintages Sasha’s attitude towards the universe (interspersing sound and light to suggest Sasha’s urge or disprompted urge to speech) but does not forget to keep discretion. The same applies as regards to emotional therapist human friend Paul who helps Sasha and also loves and explores environments of loneliness and the great need for intimacy. Meet Sasha more or less exaggerated idiosyncracies where sometimes even I myself see not the most creative character of Louis Seize. So Louis Seize and Christine Doyon’s script is not the most intriguing considering Sasha of course but does sizeable work meet them somewhere in the middle and flare their connection.
A surface analysis of Sara Montpetit’s acting shows how strikingly good it is, comforting it is as well as impressive. Blending sad Gothic teenage emotions and some isolation into a quiet but demonstrative voice, that voice buff Cecile bounds out when her self confidence requires. To give simple disgusted looks, a worried demeanor, and spirit into the scene is to picture a young french Canadian winona ryder with the amazing comical attributes of edward cullen. Bénard interjects his own personality, proven commensurate with the rest of the film by its lightness and warmth without overpowering it. Sad psyche and the very nature of the Paul who carries with him makes every one of hisAPPI working at home and always understanding.
The film is, after all, essentially about Sasha and Paul’s relationship which turned out to be the main elective drive for the movie, but that structure does come with some structural fragility: time is needed to sketch out the cursed lovers and their actual surroundings. At this point, however, the story digresses, still in its second act when Sasha and Paul proceed to help him compile the documents that would be optimal for his passing. However, ‘Humanist vampire slump seeking tonic suicidal person’, for all its flaws in the narrative while working to infuse its prosthetic like structure into the boundaries of the vampire genre is fresh rather than mundane to a new audience right within the continuum. This is quite easily the most powerful first depiction of the year rising elegantly on the sympathetic character of its female protagonist while creating a gory business card for Louis-Seize.
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