What We Do in the Shadows
Follow the lives of Viago (Taika Waititi), Deacon (Jonathan Brugh), and Vladislav (Jemaine Clement) - three flatmates who are just trying to get by and overcome life's obstacles-like being immortal vampires who must feast on human blood. Hundreds of years old, the vampires are finding that beyond sunlight catastrophes, hitting the main artery, and not being able to get a sense of their wardrobe without a reflection-modern society has them struggling with the mundane like paying rent, keeping up with the chore wheel, trying to get into nightclubs, and overcoming flatmate conflicts.
Despite its small-scale budget of $1.6M, What We Do in the Shadows became a box office success, earning $6.3M worldwide—a 294% return. The film's bold vision connected with viewers, proving that strong storytelling can transcend budget limitations.
26 wins & 18 nominations
Plot Structure
Story beats plotted across runtime
Narrative Arc
Emotional journey through the story's key moments
Story Circle
Blueprint 15-beat structure
Arcplot Score Breakdown
Weighted: Precision (70%) + Arc (15%) + Theme (15%)
What We Do in the Shadows (2014) exemplifies meticulously timed dramatic framework, characteristic of Jemaine Clement's storytelling approach. This structural analysis examines how the film's 15-point plot structure maps to proven narrative frameworks across 1 hour and 26 minutes. With an Arcplot score of 7.9, the film showcases strong structural fundamentals.
Structural Analysis
The Status Quo at 1 minutes (1% through the runtime) establishes Opening image: Documentary crew arrives at vampire flat. Viago introduces their centuries-old domestic routine - petty conflicts over chores, bloodstains, and who does the dishes. Establishes the mundane reality of immortal life stuck in outdated patterns.. Structural examination shows that this early placement immediately immerses viewers in the story world.
The inciting incident occurs at 10 minutes when Nick, a human computer analyst, is brought to the flat as vampire bait. Petyr turns him into a vampire instead of killing him. This unwanted newcomer disrupts the centuries-old household equilibrium and brings the modern world crashing into their gothic existence.. At 12% through the film, this Disruption aligns precisely with traditional story structure. This beat shifts the emotional landscape, launching the protagonist into the central conflict.
The First Threshold at 21 minutes marks the transition into Act II, occurring at 24% of the runtime. This demonstrates the protagonist's commitment to The vampires actively choose to teach Nick vampire ways and allow him (and Stu) into their world. They decide to bring Nick to the Unholy Masquerade ball, making him officially part of their social circle. This acceptance of the new marks their entry into Act 2's exploration of change., moving from reaction to action.
At 44 minutes, the Midpoint arrives at 51% of the runtime—precisely centered, creating perfect narrative symmetry. The analysis reveals that this crucial beat False defeat at the Unholy Masquerade: Nick reveals publicly that he's a vampire, breaking the masquerade. The Beast (Vladislav's ex-lover and torturer) arrives, raising stakes. Nick's recklessness has put them all at risk. The party that was supposed to integrate him instead reveals the danger of change. Stakes raised: can they survive in the modern world?., fundamentally raising what's at risk. The emotional intensity shifts, dividing the narrative into clear before-and-after phases.
The Collapse moment at 62 minutes (72% through) represents the emotional nadir. Here, All Is Lost: Stu is killed (apparently) by the Beast in a brutal attack. The one purely good element - the human friend who brought no ego or agenda - is destroyed. The vampires' experiment with change has cost them the person they all genuinely loved. Whiff of death achieved., indicates the protagonist at their lowest point. This beat's placement in the final quarter sets up the climactic reversal.
The Second Threshold at 68 minutes initiates the final act resolution at 80% of the runtime. Synthesis/revelation: Stu survived! Discovery that he's still alive (though wounded) gives them a second chance. Petyr is killed by sunlight in the rescue, but this sacrifice shows they've learned to value connection over immortal stagnation. They choose to turn Stu into a vampire to save him - full acceptance of change., demonstrating the transformation achieved throughout the journey.
Emotional Journey
What We Do in the Shadows's emotional architecture traces a deliberate progression across 15 carefully calibrated beats.
Narrative Framework
This structural analysis employs systematic plot point analysis that identifies crucial turning points. By mapping What We Do in the Shadows against these established plot points, we can identify how Jemaine Clement utilizes or subverts traditional narrative conventions. The plot point approach reveals not only adherence to structural principles but also creative choices that distinguish What We Do in the Shadows within the comedy genre.
Comparative Analysis
Additional comedy films include The Ministry of Ungentlemanly Warfare, The Bad Guys and Lake Placid.
Plot Points by Act
Act I
SetupStatus Quo
Opening image: Documentary crew arrives at vampire flat. Viago introduces their centuries-old domestic routine - petty conflicts over chores, bloodstains, and who does the dishes. Establishes the mundane reality of immortal life stuck in outdated patterns.
Theme
Viago states the theme during flat meeting: "We're werewolves, not swear-wolves" later echoed when discussing how they must adapt to modern times. The film explores whether ancient creatures can change their ways and accept new members into their stagnant world.
Worldbuilding
Introduction to the flatmates: Viago (fussy 379-year-old), Vladislav (former tyrant), Deacon (young upstart at 183), and Petyr (ancient 8,000-year-old Nosferatu). Their nightly routines, vampire rules, hunting methods, and comic dysfunction establish a world of immortals trapped in outdated social patterns.
Disruption
Nick, a human computer analyst, is brought to the flat as vampire bait. Petyr turns him into a vampire instead of killing him. This unwanted newcomer disrupts the centuries-old household equilibrium and brings the modern world crashing into their gothic existence.
Resistance
The vampires debate what to do about Nick. He's brash, breaks vampire secrecy rules, and brings his human friend Stu (IT professional). Initial resistance to change: should they kill Nick, accept him, or teach him their ways? Nick represents everything they fear about the modern world.
Act II
ConfrontationFirst Threshold
The vampires actively choose to teach Nick vampire ways and allow him (and Stu) into their world. They decide to bring Nick to the Unholy Masquerade ball, making him officially part of their social circle. This acceptance of the new marks their entry into Act 2's exploration of change.
Mirror World
Stu, Nick's human friend, becomes the true Mirror World character. Unlike the vampires' centuries of stagnation, Stu represents quiet competence, modern knowledge, and genuine friendship without ego. The vampires (especially Viago) grow genuinely fond of him, learning what connection means beyond their petty squabbles.
Premise
The promised premise: vampire domestic comedy in the modern world. Preparations for the Unholy Masquerade, encounters with werewolf rivals, Nick's inability to follow vampire code, Stu teaching them about modern technology. The fun of watching ancient vampires navigate smartphones, social media, and nightclubs.
Midpoint
False defeat at the Unholy Masquerade: Nick reveals publicly that he's a vampire, breaking the masquerade. The Beast (Vladislav's ex-lover and torturer) arrives, raising stakes. Nick's recklessness has put them all at risk. The party that was supposed to integrate him instead reveals the danger of change. Stakes raised: can they survive in the modern world?
Opposition
Pressure intensifies: Nick's continued inability to keep vampire secrets threatens their existence. Tension with werewolves escalates. The vampires' old ways clash with Nick's modern recklessness. Vladislav must face his fear of The Beast. The household splinters as their attempt to modernize backfires.
Collapse
All Is Lost: Stu is killed (apparently) by the Beast in a brutal attack. The one purely good element - the human friend who brought no ego or agenda - is destroyed. The vampires' experiment with change has cost them the person they all genuinely loved. Whiff of death achieved.
Crisis
Dark night: The vampires mourn Stu and blame themselves. Nick is banished for his recklessness. They face the reality that change brought loss. In their grief, they must decide who they really are and what matters beyond their petty eternal existence.
Act III
ResolutionSecond Threshold
Synthesis/revelation: Stu survived! Discovery that he's still alive (though wounded) gives them a second chance. Petyr is killed by sunlight in the rescue, but this sacrifice shows they've learned to value connection over immortal stagnation. They choose to turn Stu into a vampire to save him - full acceptance of change.
Synthesis
Finale: The vampires reconcile with werewolves, make peace with Nick, and integrate Stu as a new vampire flatmate. Viago reconnects with his centuries-lost love. They execute their new understanding: change is possible, new members can be family, and adaptation doesn't mean losing identity. Modern and ancient synthesize.
Transformation
Closing image mirrors opening: Documentary crew films the household, but now it includes Stu (new vampire) and shows the vampires having learned to adapt. Same domestic routine, but with acceptance, friendship across groups (vampires/werewolves), and connection to modern world. They've transformed while remaining themselves.