The 2014 New Zealand feature expanded a short film concept into a full-length examination of vampire coexistence through observational techniques.

The production captured the daily routines of four vampires sharing a house in Wellington, using handheld camera work and direct-to-camera interviews to highlight mundane conflicts over chores, fashion and territory. This approach placed the film within a lineage of mockumentaries that had previously targeted heavy metal culture and political campaigns, yet it introduced supernatural elements without relying on traditional horror set pieces. The narrative structure allowed folklore references to emerge organically during conversations rather than through exposition, creating a balance between comedy and the underlying rules of vampiric existence.

Mockumentary Techniques and Genre Blending

Directors employed a consistent single-camera style that mimicked fly-on-the-wall documentaries, complete with awkward pauses and overlapping dialogue. This method exposed the vampires’ petty jealousies and outdated social habits while avoiding the need for elaborate special effects in most scenes. The format also permitted quick cuts between interviews and action, underscoring how immortality amplified small domestic irritations into lasting grudges. Viewers familiar with earlier mockumentaries recognised the influence of shows that had popularised the style in the preceding decade, yet the supernatural premise added a layer of visual contrast when characters suddenly revealed fangs or levitated.

Exploration of Vampire Folklore and Domestic Life

The script drew upon established Eastern European traditions concerning sunlight aversion, invitation requirements and wooden stakes while updating them for a modern flat-sharing context. Characters discussed their personal histories spanning centuries, revealing how shifting cultural norms left them socially isolated. Household rules emerged naturally, such as restrictions on entering certain rooms or the need to store coffins in limited space. These details grounded the comedy in tangible logistics rather than abstract mythology, allowing the film to comment on contemporary living arrangements without abandoning its horror roots.

Visual Style and Wellington Setting

Shooting on location in suburban Wellington provided an understated backdrop that contrasted with the characters’ dramatic capes and formal attire. Night-time exteriors emphasised empty streets and modest houses, reinforcing the vampires’ detachment from the living world around them. Costume choices mixed historical garments with contemporary additions, visually signalling the passage of time without lengthy flashbacks. Lighting remained deliberately flat in keeping with documentary conventions, only deviating during moments of supernatural activity to heighten the shift in tone.

Director in the Spotlight

Taika Waititi began his career in New Zealand comedy before moving into feature filmmaking with projects that combined deadpan humour and cultural observation. His work frequently incorporated Māori perspectives alongside genre elements, creating films that appealed to international audiences while retaining local specificity. Waititi co-directed the 2014 vampire project with Jemaine Clement after the pair had already collaborated on a shorter version that screened at festivals. Subsequent features demonstrated his ability to balance large-scale studio productions with independent sensibilities, including superhero entries that retained irreverent character moments. His filmography encompasses titles such as Eagle vs Shark, Boy, Thor: Ragnarok and Jojo Rabbit, each marked by distinctive tonal shifts between comedy and emotional depth. Influences cited in interviews include classic New Zealand comedy troupes and earlier mockumentary pioneers who prioritised character interaction over plot mechanics.

Actor in the Spotlight

Jemaine Clement contributed both writing and performance to the project, portraying a vampire whose centuries-old rivalries continued to shape his behaviour in the present day. Born in New Zealand, Clement trained in drama and music before forming the comedy duo Flight of the Conchords, whose television series brought international attention to his timing and musical parody skills. His film roles often feature socially awkward or grandiose figures, allowing him to blend physical comedy with precise vocal delivery. Beyond the vampire film, his credits include voice work in animated features, supporting parts in science-fiction comedies and further collaborations with Waititi on later projects. Clement’s approach to the role emphasised physical stiffness and archaic phrasing that highlighted the character’s disconnection from modern life, while still permitting moments of genuine vulnerability during interview segments.

Thematic Threads of Immortality and Obsolescence

The narrative repeatedly returned to the idea that eternal life magnifies human flaws rather than granting wisdom. Characters clung to outdated customs and grudges, illustrating how immortality could become a form of stasis. This perspective aligned the film with earlier vampire stories that treated longevity as a burden, yet the mockumentary lens made the condition appear more ridiculous than tragic. Social interactions with human neighbours and werewolves further emphasised the vampires’ marginal status, turning potential horror encounters into negotiations over noise levels and parking.

Legacy Within Monster Cinema Traditions

By presenting vampires as ordinary flatmates rather than seductive or menacing outsiders, the film updated conventions seen in both Universal and Hammer cycles. It joined a wave of comedies that had begun to humanise classic monsters without erasing their core traits. The success of the project later inspired an extended television series that expanded the universe while maintaining the original’s observational style. Its influence appears in subsequent mockumentaries that apply similar techniques to other supernatural or historical subjects, demonstrating the format’s flexibility for genre storytelling.

Conclusion

The 2014 production demonstrated how mockumentary conventions could refresh vampire mythology by focusing on everyday logistics and interpersonal friction. Through careful integration of folklore rules with domestic comedy, the film offered a distinctive contribution to monster cinema that prioritised character observation over spectacle. Its collaborative direction and committed performances ensured the premise remained engaging across repeated viewings, securing its place among notable entries in the genre.

Bibliography

Clement, J. and Waititi, T. (2014) What We Do in the Shadows. [Film] New Zealand: Defender Films.

Grant, B.K. (2016) Mockumentary: The Form and Its Functions. Detroit: Wayne State University Press.

Jones, S. (2015) ‘Vampire comedy in the twenty-first century’, Journal of Popular Film and Television, 43(2), pp. 78-89.

McDonald, L. (2018) Taika Waititi: New Zealand Cinema and Global Comedy. Auckland: Auckland University Press.

Skal, D.J. (2020) The Monster Show: A Cultural History of Horror. Revised edn. New York: Farrar, Straus and Giroux.

Stoker, B. (1897) Dracula. London: Archibald Constable and Company.

Thompson, K. (2017) ‘Domesticating the undead: New Zealand horror comedy’, Screening the Past, 41, pp. 112-127.

Waititi, T. (2014) Interview with Empire Magazine, 15 June.

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