What happens to our loved ones after they pass away? It’s a question that haunts us all, but Canadian director Raymond St-Jean’s latest film, Veins, takes this emotional inquiry to a place you’ve likely never imagined. Premiering at the 29th Tallinn Black Nights Film Festival (PÖFF) in the main competition program, this body horror thriller doesn’t just push boundaries—it redefines them. But here’s where it gets controversial: while the genre is known for its unsettling visuals, St-Jean admits he’s not a fan of body horror as a viewer. ‘It’s fun to do, though,’ he quips, leaving us to wonder: Can a director truly excel in a genre they don’t enjoy watching? And this is the part most people miss: the film isn’t just about shocks—it’s a deeply poetic exploration of social issues, from assisted dying to the collapse of industries in Quebec and Canada.
The story follows Isabelle, who travels to the nearly abandoned town of Saint-Étienne with her girlfriend to visit her parents. What she discovers is a shock: her father has died and been buried without her knowledge. Why wasn’t she informed? Why wasn’t she invited to the funeral? The answers she receives from her mother and uncle are as cryptic as they are unsettling. Starring Romane Denis, Marie-Thérèse Fortin, Sylvain Marcel, Anana Rydval, and Richard Fréchette, Veins is a thought-provoking journey into grief, family secrets, and the human condition.
During a post-premiere Q&A, St-Jean addressed the inevitable comparison to fellow Canadian David Cronenberg, often dubbed the ‘father of body horror.’ ‘Of course, we know his work, but honestly, we didn’t think much about Cronenberg while making this film,’ he revealed. Bold statement alert: While Cronenberg’s influence looms large in the genre, St-Jean insists Veins stands on its own—a groundbreaking achievement as the first body horror film shot in Quebec.
What’s striking is St-Jean’s candid admission about his relationship with the genre. ‘I’m not a big fan of body horror movies as a spectator, but visually, it’s a dream to direct,’ he explained. ‘It’s very efficient at creating discomfort, and I think only cinema can achieve that level of realism.’ But here’s the twist: he believes the genre’s unsettling nature serves a purpose, especially when paired with social commentary. ‘It’s troubling, and that’s the function of it,’ he added.
And this is where it gets even more intriguing: St-Jean positions Veins in the context of recent body horror films like Titane and The Substance, but with a unique twist. ‘We tried to create drama that feels real, but it’s also a poetic movie,’ he said. The film doesn’t just horrify—it challenges, using its visceral imagery to explore themes like assisted dying and economic decline in rural regions.
So, here’s the question for you: Can a director truly master a genre they don’t personally enjoy? And does the unsettling nature of body horror make it a more effective tool for social commentary? Let us know in the comments—this is one conversation you won’t want to miss.