Humanist Vampire Seeking Consenting Suicidal Person is a mouthful of a title -- and the movie has plenty to chew on, too.
come in a range of makes and models: Sexy, hideous, humanoid, monstrous, cunning, coarse, kindly, cruel. But the massive popularity of franchises likesuggests that some audiences harbor an inferiority complex over their frailty compared to the indomitable power of the average vamp. They’re faster than us. They’re smarter than us.
Sasha is in her teens, meaning she’s really 68. An only child to her father Aurélien and mother Georgette , Sasha struggles with vampires’ core survival mechanism: Hunting. She can’t bring herself to kill. She takes her blood from hospital bags instead, until Aurélien and Georgette show her tough love. They take away the bags and have her move in with her cousin, Denise , who lack’s Sasha’s compunctions about puncturing throats for supper.
The film does reflect certain vampire archetypes. Denise, for instance, fits a traditional bloodsucker bill: Merciless and cool, sultry in the pursuit of her prey. She gives not a single shit about Sasha’s dilemma. She cares about staying alive.
In contrast with its title, the film’s narrative is breathtaking in its economy, a quality facilitated by construction as well as the cast’s performances. Montpetit and Bénard fill the routine silences between Sasha and Paul with unspoken communication: Kinship, longing, love, at first platonic and then romantic, curiosity.
freedom to have fun. Sasha takes Paul on a prank spree halfway through that reads as something out of a straight-ahead high school comedy; not long after, Paul bites Henry on the hand at a party in a fit of rage, a reaction to one humiliation too many heaped on him by his bully. It’s one of the film’s most unsettling scenes, earned through the intersection of alienation with existential violence.
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