The Fantasia Film Festival has announced its first feature film, “Vampire,” as one of the 22 films in competition.
A New Contender for One of the Great Vampire Movies is a movie that was released in 2016. The movie is about a vampire who has been living with humans for centuries and he wants to be free from their society.
While the horror film industry is often overloaded with low-effort efforts at zombies and ghosts, the vampire subgenre seems to have just a few tries every few years. Sometimes this results in over-produced studio drivel like Abraham Lincoln: Vampire Hunter or Priest, but for every two of them, there’s one Only Lovers Left Alive, a picture that swiftly rose among the greats, recontextualizes the mythology, and proves it’s still a subgenre worth investigating. All the Moons, directed by Igor Legarreta, is one of these efforts, delving deeper into humanity than the premise’s gore and providing a complex and frightening experience as ageless as the monsters themselves.
During the final Carlist War in Spain around 1897, teenage actress Haizea Carneros makes her feature film debut as Amaia, a young orphan who finds herself at the mercy of a monster of the night. A plea for assistance leads her along a road of everlasting youth and a need for blood, but the conflict cuts short her time for exploration, leading her down a unique route through vampire legend and to the doorstep of a lonely farmer (Josean Bengoetxea). Amaia embarks on a journey unlike any other vampire story as she attempts to reinvent herself despite her illness.
Where All the Moons truly shines is in not holding the audience’s hand when it comes to what Amaia can do as a vampire, instead pushing the lore’s boundaries to create a whole new dynamic for her character. Amaia spends years alone, learning the limitations of her powers while also gaining a perspective on things like the Sun’s destructive effects. This portion of the material is handled with ease and accuracy by Legarreta, who passes the time with an outstanding visual language and mastery of the camera.
The set design and cinematography in All the Moons get high ratings across the board, despite the near-flawless narrative and performances. These two elements work together to produce stunning visuals in every scene while still retaining the story’s reality and tangibility. When the whole narrative is about being stuck between worlds (“trapped,” as Amaia puts it), the film’s realistic settings and natural aesthetics help to strengthen not just the story but also the ideas.
Because the primary vampire character is a young girl, comparisons to Let the Right One In seem unavoidable, and there are perhaps some emotional beats that they share, but they are also completely distinct perspectives on the mythology and separate paths. In contrast, Let the Right One In is almost definitely stricter and more concerned with “rules,” while All the Moons focuses on utilizing the vampire framework to drive the central story ideas.
Hardcore horror aficionados may consider the absence of violence and gore in the picture to be a flaw, but All The Moons is more similar to a fairy tale than a massacre. The vampire mythology’s fantastical components remain new throughout, but they’re reinforced by the filmmaker’s meticulous attention to his narrative and where he’s presenting it.
All the Moons is one of the most satisfying new vampire stories in years, and it will undoubtedly join the pantheon of “Great Vampire Movies.” Others may claim to have deep romantic origins or to have explored the naturally graphic power dynamic of these animals, but All the Moons succeeds in bringing a fresh perspective to the table by completely committing to discovering humanity.
5 out of 5 stars
All The Moons made its world debut at the Fantasia International Film Festival, although it has yet to be released in the United States.
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