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Despite its darkly supernatural package, however, Louis-Seize’s film adheres to its idiosyncratic tone of purposeful excitement for a future that’s hardly assured––death can be a beginning too. Rather than adhere to the status quo by taking people’s lives, maybe Sasha can somehow take their deaths instead.

What’s special about Humanist is how Louis-Seize maintains an easygoing atmosphere despite the heavy material, and despite the determined stillness of Shawn Pavlin’s photography.

Ariane Louis-Seize’s debut feature plays like a coming-of-age genre mash-up, and features a tortured blood-sucker protagonist reminiscent of Only Lovers Left Alive, A Girl Walks Home Alone At Night or even The Hunger, although it is narratively and stylistically striking enough to make its own impact.

The deadpan tone recalls the drollery of Jim Jarmusch’s Only Lovers Left Alive and What We Do in the Shadows. Montpetit channels the teen angst of a young Winona Ryder. The effect reframes this dark comedy as a species-swapped, harder-edged, very French Edward Scissorhands.

Humanist Vampire Seeking Consenting Suicidal Person isn’t a wholly new take on the subgenre. But it is a charming one — a rom-com for teenagers (and teenagers at heart) who swoon when cute boys talk about death.

In keeping with this trend, Ariane Louis-Seize's delightful “Humanist Vampire Seeking Consenting Suicidal Person” drives a wooden stake of complexity through vampire mythology, offering a fresh new take through a pacifistic protagonist.

“Humanist Vampire” doesn’t want us to think too deeply, and aims mostly to charm. Largely it succeeds, which is its own kind of critique in this post-“Titane” and -“A Girl Walks Home Alone At Night” era, when some viewers might expect provocation or transgression from their horror archetypes.

It’s stylishly shot by first-timer Louis-Seize, a bit reminiscent of an early Jim Jarmusch movie with its deadpan sense of humour, never trying too hard, just a little bit too cool for school.