Kiss Me Until I Die

A neurodivergent analysis of the 1989 horror-comedy Vampire’s Kiss portrayal of society’s view of mental health and gender equality.

This article focuses on the meaning of the film versus descriptions of scenes and characters. Some of the information could be considered spoilers, you have been warned!

Peter Loew, played by Nicholas Cage, becomes obsessed with vampires to the point of delusion. He thinks he has been turned into a bloodthirsty vamp and is terrorizing the city. This is an R-rated film that insinuates various types of assaults on the victims. We will not be focusing on the details of the assault for this review, but it will be referenced.

The protagonist is consistently descending further and further into his madness. The light burns him, he becomes aggressive against his staff and he is always hallucinating. One of his hallucinations is that of a young female vampire that he believes is his maker.

The film quickly shifts from a supernatural flick to a social commentary on gender inequality, misogynistic ideals, and how society views mental health from the outside looking in.

There is an interesting dynamic between Loew and his sire versus Loew and his secretary (administrative assistant). While he sees his sire as strong, intelligent, and impressive. He sees his secretary as lazy, a punching bag for his bad days, and incompetent.

There is only equality of the genders if they are a vampire.

The vampire has always represented strength, immunity, and the ability to manipulate people’s minds. Cage’s character has none of these things but desires them all. His hallucinations give him satisfaction, but his employees remind him of reality and everything he does not embody.

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