Chilean children playing zombies Quite a curious work by Jorge Olguin, more reminiscent of the graduation work of a film college student who could not resist copying his favorite episodes from other (probably his favorite) films and not put them in his film. When viewing, the viewer will safely find: “Chakushin ari” by Takashi Miike (a zombie girl with long black hair crawling behind the main character’s back); “Terminator 2: Judgment Day” by James Cameron (children swinging on a swing) and many, many other similar episodes. In general, it would be possible to attribute this picture to the usual second-rate (we are not talking here about the budget of the film, since it is not an indicator of the quality of the films being shot) and even third-rate cinema, if not for one thing, and this is but hidden in the very idea of the picture, in some way the author’s view of the director himself, who shot the film so different, on similar pictures from the USA.
The very idea of a zombie apocalypse in the film passes by, this is not even the purpose of the film, but only its tool to show the regrettable finale of the adult half of humanity, in which children act as a metaphor for the purification of the planet. When adults are mired in wars, conflicts, crimes and devoured themselves, they are replaced, through the epidemic of the virus, by a new race, pure, untouched, with an immaculate heart of people, future people who are still only children. It is not for nothing that the heroine of the whole film is a girl, from whom the narrative actually comes, who is looking for like her, and finding, leads them forward to the ocean, to the ocean, as a symbol of purification of the world. She is like a new messiah, depicted by the director, treading on the earth in search of a new bright future for humanity and zombies, as lepers before an angel lean at her feet and do not touch her, crawling back, bending down before her. Even the cruelty of children left forever unattended by parents, so well known to psychologists, is not touched upon in this film. The children here are only flowers. Realism as it is absent or secondary, only a religious mystical motif disguised as a zombie movie apocalypse is the main one. And in this sustained post-apocalyptic atmosphere of the film, as if the apotheosis of the whole narrative is the finale, bright, bold, rich and albeit computerized, but extraordinary, thanks to which you understand that the time spent watching the film was still not in vain.