Vampires Will Never Hurt You

Have you ever considered that the boogeyman might be just as scared of you as you are of him?

Even before humanity discovered fire and shadows danced on cave walls, fear has been a constant companion, evolving alongside us. Our survival as a species hinged on our ability to feel and react to fear. It has been our savior, our essential sense of self-preservation that kept us going for millennia.

Today, terror remains a crucial part of the human condition. However, in modern democracies and Western societies, our environment has become safer, and our survival instincts are less frequently called upon. Instead, we find ourselves engaged in witch hunts against anything that deviates from the norm. If no real beasts lurk in the darkness, we are quick to "beastify" anything and anyone we cannot understand.

Many cinephiles might be reluctant to admit it, but horror cinema is a significant reflection of societal conditions. This year’s "Kinoscope Surreal" program at the Sarajevo Film Festival features venomous spiders, bloodthirsty teenagers, and idle zombies that challenge our understanding of genre films by reflecting on themes of rejection and isolation. This selection of fast-paced creature features and contemplative coming-of-age dramas uses thrills as tools to convey complex ideas simply, helping us consider our place in a modern-day apocalypse—from discrimination and injustice to corruption and abuse of power.

French director Sébastian Vaniček explores these themes in his debut film, Infested (Vermines, France, 2023), by blending a classic monster chiller with cinéma des banlieues. The premise is straightforward: a lovable group of outcasts battles a horde of flesh-eating spiders in a gigantic apartment building on the outskirts of a French metropolis. Beneath the action-packed surface lies an allegory of class division and police brutality, adding depth to the otherwise straightforward thrill-fest. After our heroes save the day and escape the venomous infestation, an even greater threat emerges, prompting viewers to question what the term "vermin" truly signifies.

While the characters embody familiar slasher archetypes (the hero, the himbo, the couple, the final girl, etc.), Vaniček manages to flesh out their relationships and create credible chosen family dynamics amidst the loud beats, running, and fast editing. In the end, it’s no surprise that the key to survival is the bond between the friends, reinforcing the idea that unity is crucial in standing against injustice.

The importance of family, friendship, and romantic love is also central in two other films featured in the "Kinoscope Surreal" selection. Célline Rouzet’s debut fiction film For Night Will Come (En Attendant la Nuit, France/Belgium, 2023) and Ariane Louis-Seize’s horror comedy Humanist Vampire Seeking Consenting Suicidal Person (Vampire Humaniste Cherche Suicidaire Consentant, Canada, 2023) share similar plots and structures. Both films address the challenges of growing up in an unwelcoming environment, though the former leans more towards drama while the latter recalls Chris McKay’s Renfield (USA/UK/Canada, 2023) and Taika Waititi and Jemaine Clement’s What We Do in the Shadows (New Zealand/USA, 2014).

For Night Will Come follows Philemon, a 17-year-old boy suffering from an unknown illness that creates an unbearable need to consume other people’s blood. When Philemon and his family move to a rural mountain town, he falls for his neighbor and realizes he needs to seek love outside his family—preferably without draining his lover dry.

Although the film does not showcase Célline Rouzet’s background in documentary, it remains grounded in reality. In a Q&A after the screening, the director shared a heartbreaking true story behind the fantasy. For Night Will Come is dedicated to her brother Vincent, whose experience with dismissal and lack of understanding led to his premature death. While the supernatural elements provide some distance from issues like depression, isolation, queerness, and disability, they also help convey the film’s message without overwhelming it with complex metaphors. Vampirism as a medical condition is not unique—similar themes have appeared in the BBC series In the Flesh (UK, 2013-2014)—but Rouzet’s approach remains original.

Ariane Louis-Seize’s Humanist Vampire Seeking Consenting Suicidal Person takes a more humorous approach and reveals its hand early. Sasha, a teenage vampire aged 68, refuses to kill. Her concerned family pressures her to develop her murderous abilities, leading Sasha to seek out a consenting victim. She finds Paul, a depressed young man struggling to fit in, who is willing to offer his neck. However, their relationship grows into a special connection, demonstrating that their friendship surpasses any survival (or destructive) instinct.

Humanist Vampire is as feel-good as a blood-sucking flick can be, incorporating elements of rom-com and showcasing Wes Anderson-like stylizations. Cinematographer Shawn Pavlin’s distinctive vision, Stéphane Lafleur’s clever editing, and Pierre-Philippe Côté’s original score create a rhythm that emphasizes the film’s deadpan humor. The film also stands out for its unique style and Sara Montpetit’s standout performance as Sasha, bringing the character to life—ironically, given her undead nature.

While Infested contemplates societal structures and police violence, the other two films are coming-of-age stories about otherness and staying true to oneself despite societal pressure. In this sense, all three films explore love as a necessity, especially for estranged individuals subjected to rejection. Being different has never been easy, but as the saying goes, there is no light without shadow. The happily-ever-after is within reach, as long as one resists the pressure to conform.

After all, what’s so bad about being a monster?