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Vampires have never been more human, or more vulnerable, than they are in Tomas Alfredson’sreferred to as “the best modern vampire movie” strips away all the gothic arch-villain connotations of existing as a vampire and reduces the affliction to its most basic components: You become a creature of intense needs and vulnerabilities, precisely because your existence is still so tethered to human society. Without human blood, a vampire cannot live.
Into this situation comes a young boy named Oskar, with whom we initially sympathize, before realizing he is more than meets the eye. Oskar has suffered; this much is clear. His mother is cold and distant, seemingly consumed by the grief of a life that slipped away from her when she wasn’t looking. His father is gone, partying with friends after the divorce. He’s bullied mercilessly in school by a pack of thugs who seem like budding psychopaths.
But ah, perhaps Oskar just needs a friend, right? If only that friend wasn’t an immortal vampire, trapped in the body of what was once a 12-year-old girl. The seeming age match between the two makes for an interesting source of both friction and bonding—as also seen to some degree in, Eli has technically aged hundreds of years, but her mental faculties and personal identity remained curiously frozen in time.
At its heart, this is also a story about how we take advantage of those we profess to love, and how people use each other to seek their own goals. Eli’s “familiar” of sorts, Håkan, is a man who is deeply committed to and obsessed with Eli, but she seems to harbor no genuine fondness or affection for him. He continues to do her bidding, killing for her to allay suspicion about a 12-year-old girl out on her own at night, even though she’s perfectly capable of doing the deed herself.
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