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(Brooklyn Horror Film Fest 2026) I LOVE PARIS Wants to Be a Star...Becoming a Vampire Might Help

By. Vanessa Maki

 

I LOVE PARIS makes its US premiere at Brooklyn Horror Film Fest on October 15th.


There are several subgenres and formats within found footage as a subgenre and mockumentaries are included in that. At times, they’re effective, especially when they have more unique angles with intriguing characters. I LOVE PARIS, directed by Nicky Murphy and Aminata Thiboult, is a vibrant mockumentary that feels like a throwback to when networks like MTV released celebrity documentaries and reality shows. The only difference is we’re following a fledgling vampire and her antics involving blood, as well as her budding music career.

 

I LOVE PARIS is set in France and follows Paris (Aminata Thiboult), an underground artist who has dreams to become more recognized. One night she’s turned into a vampire by Lutèce (Leonor Oberson), when she’s trying to record videos to gain a social media presence before a big music festival, and it changes everything. The documentary that’s being filmed is full of silliness, intended and unintended killing, and an adoration for music. There’s a great sense of appreciation for the underground scene and alternative culture that thrums throughout I LOVE PARIS. And while Paris’ decision-making isn’t always sound, it’s hard to root against her.

 

Immediately we meet Paris through the point of view of the cameraman, who is entirely amused by Paris’ personality. Instead of Paris being an unlikeable protagonist, she’s simply a quirky and weird underground artist. Not to mention she’s a Black underground artist, which makes it even more difficult for her to break through with her style of music. Which is a little rough around the edges at first. The earlier scenes display Paris as someone who is struggling to really hone in, even without being a social media sensation.

Trying to make it as an artist, in a world that’s dominated by influencers and people who are thriving on social media like TikTok, isn’t as easy as it seems. I LOVE PARIS isn’t a deep meditation on that reality, but it does lightly explore how Paris is desperate enough to attempt to record videos for TikTok. A decision that leads to her fate of being turned by Lutèce, who follows her and the cameraman, until she finally is able to bite Paris after tasering her. A scene which isn’t as harrowing as it sounds because there’s a comedic flavor to it.

 

Paris may willingly point a camera at herself in hopes of getting noticed, but COMPLIANCE finds something considerably more sinister in our willingness to live through screens. Katelyn Nelson's Fantastic Fest review looks at a found-footage nightmare where phones, video calls, and security cameras make being watched nearly impossible to escape.

 

As soon as Paris is transformed into a vampire, the film kicks it up a notch with the silliness. Rather than spend the entire film resisting human blood, she tries her best to embrace being a vampire. It flips the expectations one might have regarding the premise of I LOVE PARIS. The typical moral dilemmas that folks occasionally face in these situations aren’t that plentiful. It can certainly be attributed to the script, which was co-written by Aminata Thiboult.

Aminata Thiboult’s performance is electric and enticing to watch throughout the film’s runtime. From her movements, to her line delivery, her real-life understanding of music as an artist herself, and eccentric energy that she brings to the character. I LOVE PARIS hinges on her ability to keep the audience interested in Paris and her ever-changing desires. And it’s safe to say that without her, the film would’ve lost steam much quicker. 

In terms of the visual style of this film, it’s very appealing, especially if you enjoy grunge and alternative aesthetics. The style is effortless because of the filming locations, but also because of Paris’ fashion style. Paris is never trying to fit in or be popular in her presentation, she’s just being herself. Despite how that hasn’t earned her super stardom in the music world.

 

At points, it does feel like I LOVE PARIS is dragging its feet throughout the latter half of the film. Whether or not Paris gets to perform for a huge audience becomes less important as the film goes on. There’s a slight pivot in Paris’ trajectory because of her vampire status, and everything that comes with that. Including but not limited to her rollercoaster relationship with Lutèce or the connections she makes with other artists like Mimi (Louiza Aura). And  those relationships are part of what the film gets right.

 

Since the film is a mockumentary you’re going to question why the cameraman continues to film, especially when he’s documenting numerous murders. It’s a mystery that’s never solved, not even by the end of the film, because we’re not made privy to his personal life. The lack of explanation into some aspects of other characters isn’t a disservice. Though, it does make for a few head scratching moments.

The third act of I LOVE PARIS is where it slightly falters and a slight trimming of the runtime could’ve helped make it tighter. Especially as the story becomes more random because of Paris’ increasingly impulsive behavior. Despite all of this, I LOVE PARIS is adventurous in its premise, Nicky Murphy’s directing and commitment to depicting Paris in a less romanticized point of view, the queer vibes sprinkled throughout, and it’s a film you won’t regret having watched once you get the chance.

I LOVE PARIS will surely make you want to see more of Thiboult in horror projects because of her vibrant performance in this. The film is worth checking out and Thiboult is one to watch out for moving forward.

 

Paris isn't particularly interested in becoming more conventional after becoming a vampire, and she's not the only recent festival character discovering that embracing the strange might be preferable to fitting in. THE SQUIRREL takes that idea somewhere entirely different, finding warmth and humor in a sterile future where rediscovering desire, nature, and genuine connection becomes its own form of rebellion.