When twenty-year-old vampire Romana hears the doorbell, she expects to find a delivery rider with cat food, not the woman she fed on the night before. Romana only kills people who are almost dead, but it seems she’s just hit vampire puberty: now she can turn people. Oops. She invites Mrs. Visconti in and explains: drink blood and live forever, or die of thirst. Easy, right? Too bad immortality is overrated: no sun, no friends, a life spent in hiding. Mrs. Visconti stares at her in shock - not just because she looks like Jane Birkin, but because she’s Romana, the girl from high school, from another life, frozen in time. Mrs. Visconti, on the other hand, is everything Romana has always envied: old, experienced, human. Just when Visconti seems ready to make a choice, a memory resurfaces: her husband. Her dead husband. And suddenly she’s no longer so sure. If she becomes a vampire, will she see him again? Do vampires go to heaven?
Despite decades of parodies, vampires have managed to retain a certain dignity. Accollo also lives in this ambivalence. On the one hand, there is the grotesque comedy of the situation: accidentally vampirizing someone; an elderly woman who feels like a young girl, and a young woman who feels ancient. On the other hand, the story raises deeper reflections: we might all be good at being vampires at twenty, but what would happen if someone were vampirised at the age of seventy-six? Would it still be worth it? And what happens when a young girl wants to grow up and change, but cannot? While wearing the guise of a comedy, Accollo reveals itself as an allegory about time, regret, and the choices that mark us for eternity. A dramedy set entirely in an empty living room, where two women - seemingly very different - become mirrors of one another.
