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The title of French-Canadian director Ariane Louis-Seizeâs acclaimed debut, âHumanist Vampire Seeking Consenting Suicidal Person,â doubles as a plot summary and a conceptual joke: after all, to be a vampire is, fundamentally, to be inhuman â and also inhumane. Itâs a truism thatâs been handed down over the centuries by star bloodsuckers from Count Dracula to Lestat, but Seizeâs adolescent heroine Sasha is a radical.
She rejects her predatory (re) birthright in favour of a more ascetic lifestyle that doesnât impinge on the rights of others. Her strange, sometimes enervating mixture of empathy and piety makes her a perfectly millennial protagonist. Meanwhile, her parents, who do the householdâs share of hunting without compunction about the fates of their victims, are loving but bewildered, as well as tired of being criticized by their offspring.
Acritical hit last year at the Toronto International Film Festival, âHumanist Vampireâ recently scored a Canadian Screen Award for its original screenplay. Accepting the prize, Seize joked that it was the one category where she didnât have to compete with the popular juggernaut that was Matt Johnsonâs âBlackBerry,â which finished the gala with a near sweep.
Currently streaming on Crave, the film is poised to become one of the more notable Canadian titles of recent years, which testifies both to its makerâs skill and savvy as a firsttime feature director as well as the durability of the underlying mythology that sheâs given such an idiosyncratic spin.
Vampires are, of course, older than the movies, and they were also present at the mediumâs inception: in George Meliesâ 1896 short âThe Haunted Castle,â the director-star is transformed into a bat â an optical illusion that helped to establish the visual syntax of horror cinema.
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