The Cured
Director: David Freyne
Talent: Sam Keeley, Ellen Page, Tom Vaughan-Lawlor
Released: 20 April
Irish viewers needn’t go to the Isle Of Dogs to see feral beasts breaking loose from quarantine. Turns out they need look no further than their own back gardens. Yes, that’s right: a zombie film set in our poky little capital, and as if that wasn’t enough, it’s sort of good. Its take on the flogged-to-death genre feels fresh, both in its ideas and execution. After a zombie virus ravages Europe, a cure is finally found and ‘The Cured’ as they are dubbed begin reintroduction into society. Oh and here’s the deliciously bleak kicker, they can remember every vile, abhorrent thing they’ve done back when they were monsters.
Great concept, but I felt in earlier scenes the divisions in society were lacking in nuance; ‘The Cured’s’ frosty reception as they’re getting reintegrated was laid on with a trowel.
The film, however, more than makes up for this in its rich depiction of our three main characters, who are richly drawn. Vaughan-Lawlor is reliably brilliant as the erstwhile politician who helps the disenfranchised, and maligned Cured organise. Also great to see Ellen Page doing strong work here, caught between sympathy for The Cured and protectiveness of her family. And hell, does this flick crack along as the moral dilemmas stack up and loyalties get frayed. My absorption was total. Potential allegories present themselves to the viewer but are thankfully never made explicit (The Cured could represent refugees, ideological possession, the guilt following metal illness etc.)
There’s some very cunning direction in the scenes where ‘The Cured’ become militant. We start seeing echoes on their faces from their zombie past, but it’s almost creepier now because they have their wits about them. They’re in the grip of a new virus: identity politics.
Deserves to be seen. A confident debut that packs real satirical (sorry) bite.
Words: Rory Kiberd
