Bleeding (2024) Review

The Vampire is as old to cinema as the horror genre itself is. From the influential expressionism of Nosferatu (1922), the many more direct popular literary adaptations like Bram Stoker’s Dracula (1992) and the modern romance meshing approach of Thirst (2009), vampires seem to have a long lasting significance in the history of horror. Vampires have even transcended into the worlds of exploitation with cult classics like Blacula (1972) and to parody in lesser cult classics like Dracula: Dead and Loving It (1995). The key argument I make with this heavily abridged history of Vampires is that not only does anyone remotely familiar with the concept of horror know what a “classic vampire” is but that what constitutes as a “vampire film” is a loose definition.

Bleeding (2024) is a modern retooling of the fundamental traits associated with vampires that delivers a moody character drama with a young adult crime twist. Bell switches gothic castles and the common overt religious angles of vampires for a tale of drug trafficking and exploitation, an idiosyncratic critique of such illegal systems and operations. In this film, don’t expect the greased black hair and cloaks or an inhuman malevolence, if anything in this world the “Van Helsings” are the ones to fear.

The Northern American setting bring a distinct flavour of realism that meshes with the more fantastical horror which is sure to be the major selling point for many. At times it felt as if I was watching something more akin to a Debra Granik film than a horror, a feeling I welcomed in open arms. Even though the film never fully explores the inner social dynamics of this town or the deeper lingering political debates beyond the life of our central protagonist, Eric, I was always fascinated by this unique world Bell and his crew presents.

The depictions of the vampires are another highlight with their sympathetic representation aligning these characters far more with drug addicts and trafficking victims than monostrophic supernatural threats. This only furthered the parallels I was drawing with Granik’s Winter’s Bone (2010), another independent film set in the Ozarks that followed a young adult wrapped up in a drug conspiracy and entrusted with immense familial responsibility.

They would make an interesting double bill.

By depicting the vampires as a marginalised group demonised by an overly fear-mongering agenda when in actuality most are victims of circumstance and searching help, the parallels with the ongoing Fentanyl crisis in America write themselves.

Conversely, this symbolism with the vampires paints the aforementioned “Van Helsing” types in an antagonistic light. There is the lingering anti-authoritarian criticism intertwined with the characters like Dustin and Hank in how they target and both in their own ways exploit the vampire drug crisis. This subversion fits the themes of loyalty in the face of injustice and the struggles of humanity and addiction making for this retooling to not only be in style but substance.

The filmmaking itself is also impressive. Although with a limited budget and cast, Bleeding never feels incompetently made or cheap like it easily could’ve. Smart creative decisions in limiting the vampiric elements into a realist intimate drama prevents the film ballooning out into a nonsensical CGI mess that can’t achieve what it wants with what it has. Bell and crew work well within their means which I respect immensely.

Ultimately, Bleeding earns its place in the perhaps overflowing space of vampire films. It appropriately combines realism and character with horror that never enters levels of distractingly shlock but still retains an engaging level of fantasy. For anyone at Grimmfest or interested in horror looking for a film that acts as a nice palette cleanse of some coming of age moody realism, I highly recommend Bleeding. Audiences will find something to love whether it be the original vampire depiction or the driving character conflicts in the script.

Movie Rating:

Bleeding trailer