At the cinema: this vampire movie will make you forget Twilight!

The best of vampires

A musical only child, Sasha (Sarah Montpetit) spends quiet days in the family home, content to play the piano in her room and eat on the couch. Frustrated by this idle attitude, her parents are at their wits’ end and think it’s time for their daughter to take responsibility for her own life. And for these two vampires, that means learning to kill for food…

The problem is that Sasha is deeply terrified of the idea of ​​harming a man, and would rather feed on the blood bags carefully prepared by her parents than on freshly hunted animals. When her family decides to withhold food to force her to obey, Sasha loses hope. Could meeting Paul (Félix-Antoine Benard), a depressed and suicidal young man hold the key to her salvation?

As funny, dark and edgy as it is, this homage to the genre’s great films moves in its social and philosophical scope and captivates with its highly recognizable imagery. Ariane Louis-Saez, who makes her first feature film here, deciphers her work.

A filmmaker who has it in his blood

For the first time in cinema, the filmmaker was able to introduce a project that is very personal and full of references to the cinematic genres that inspired him. “A humanist vampire who seeks approval before committing suicide.” Born out of a need to tame my own anxiety and vertigo towards death“, he explains.

“Coupled with my ambition to make a vampire film for several years, the idea of ​​tackling this universally terrifying subject through the figure of the vampire quickly took hold. A creature doomed to kill in order to survive, the vampire carries death within him. But what if he starts thinking too much about the value of the life he leads compared to his own? By asking this question, with both ethical and philosophical and tragicomic potential, the character of Sasha was born.“

Deeply inspired by the gothic aesthetic specific to the vampire figure, Sasha is still an extremely modern female character. Refusing to conform to the rules set at birth by his simple nature, he sets out to live his life as he sees fit, even if it means being alone against everyone against the traditionalist mindset of his family. like this person Ariane Louis-Saez asserts the juxtaposition of classic and modern in his inspirations:

“German expressionism and vampire films certainly inspired us, but so did teen films from the late 90s and early 2000s. We wanted to explore the image texture and lighting characteristic of this film. These two influences created our visual world, and I believe that these references bring a nostalgic side that contributes to this sadness that runs through the film..”

But beyond its gothic-pop aesthetic, loaded with references and like Thomas Alfredsson’s Morse, A humanist vampire seeks suicide Consent manages to capture the depth of its spectrum of social and philosophical reflection.

Not quite as ectoplasmic as the vampires it casts as its protagonists, the film seeks to question the place of a new generation that is constantly faced with the weight of responsibility left behind by the previous generation. Even better, it questions the difficulty of defining one’s identity in a world where difference is often perceived as a factor of ostracism, sometimes within the same social group. A very relevant topic that will easily appeal to viewers of all generations.

An ode to life and rebellion as vintage as it is to pop, a humanist vampire seeks consent to commit suicide, see director Ariane Louis-Saez’s first feature in theaters March 20!