ZOMBI CHILD. Country, France. Director, Bertrand Bonello. Screenwriter, Bertrand Bonello. Language, French, Creole. Cast: Louise Labecque, Wislanda Louimat, Katiana Milfort, Mackenson Bijou, Sayyid El-Alami. Runtime, 102 minutes. Part of the 57th New York Film Festival Main Slate. Venue: Alice Tully Hall. US Premiere, October 1, 2019. US Release date: TBA.
Mostly Indies: C+
After experiencing back-to-back disappointments with his 2014 film professional admission paper writers for hire us case study methodology in educational research creative writing for dummies how to write a formal letter to introduce yourself critical essays on syriana alcoholism essay significado de la palabra do my homework follow link source link http://v-nep.org/classroom/information-on-writers/04/ get link https://aspirebhdd.org/health/viagra-subsitute-over-the-counter/12/ essay belief luck is a matter of preparation meeting opportunity essay how to write a cover letter for a general manager position persuasive essay articles first amendment essay source link top critical thinking ghostwriter service us thesis format pages http://www.cresthavenacademy.org/chapter/custom-writing-service-uk/26/ caverta generic veega viagra viagra for sale without a prescription see bootleg viagra from real how to outline for a research paper study creative writing malaysia https://www.go-gba.org/25106-video-games-essay/ https://www.sojournercenter.org/finals/college-essay-tutor/85/ go here memorable days essay assignment writing help uk Saint Laurent and his 2016 Nocturama, I was a bit hesitant to approach Bertrand Bonello’s incursion into the horror genre with his current work Zombi Child, an incursion into art-horror that attempts to merge Haiti’s tradition of turning civilians into zombies to reinforce slavery, blended somehow with a sheltered all-girl’s school, because I wasn’t sure how well he would treat the subject matter of what is part of Haitian religion and its own culture without turning it into something a bit silly or fetishistic.
The result of Bonello’s movie is equal parts historic recreation mixed with elements that seem borrowed from Val Lewton’s own I Walked with a Zombie (1944) or Wes Craven’s The Serpent and the Rainbow (1987), and in that is good in my book. From the start, Zombi Child kicks off rather eerily, with the depiction of an unknown bokor preparing the drug that will be used for nefarious purposes against an unfortunate. That unfortunate turns out to be Clairvius Narcisse (Mackenson Bijou), who collapses in the middle of a street in an unknown Haitian town and gets buried soon after. Only that he is not dead, Bonello films a chilling shot from Narcisse’s point of view as he silently and passively listens to the dirt falling onto his grave, only to find himself enslaved in the fields working for a black master.
The film then cuts to the present and zooms into an all-girl boarding school, where (predictably) the girls are mostly ignorant of the outside world. Amongst them is a young Haitian girl, Melissa (Wislanda Louimat), who while accepted in a clique of girls who love to listen to trap music and discuss literature, is also seen as a bit of a freak, mostly because she has been heard making strange noises in the girl’s bathroom at odd hours. Another girl, Fanny (Louise Labecque), seems to be going through an existential crisis of love as she mourns the loss of a former boyfriend, Pablo (Sayyid El-Alami). Conversations between Fanny and the other girls of their clique lead Fanny to discover Melissa’s Haitian heritage and seek her aunt Katy (Katiana Milfort) out for something unspeakable.
For the most part, Zombi Child seems to be split down the middle with its two disparate storylines which merge into a final, satisfying third. Its Haitian scenario is truly an atmospheric nightmare in which Clairvius, drugged beyond his wits, works the fields and wanders aimlessly through streets, slowly piecing back his life together. The French story sags quite a bit, and serves as a (very) slow ascent up the rollercoaster, giving us bits and pieces of information about the two most salient girls, before revealing to us not just what one is about to engage in, but that the other may have been a product of some unholy union and carries that in her own veins. It’s an intriguing piece of cinema, not quite horror but close, in which the cultural and political heritage of one country informs and colors another, and its incursion into a fantastic and horrifying climax serves as both expungement of a trauma by one girl, and the reaffirmation of another girl’s own culture.