Heather Olson

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Runtime 1Hour, 43 minute
Cast Mackenson Bijou, Louise Labeque

A man is brought back from the dead to work in the hell of sugar cane plantations. 55 years later, a Haitian teenager tells her friends her family secret - not suspecting that it will push one of them to commit the irreparable 6,2 of 10 Stars

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year 2019

Appreciated the effort. Really wished someone looked over the script and shooting beforehand. Very messy. Appreciated the theme nevertheless. BEST commentary ever basically HAHAHAH. A criança zombie youtube. A criança zombie 3. A criança zombie man. A criança zombie movies. I like how the “I got mugged” pamphlet has a picture of a cross-dresser on the front. A criança zombie mod.

Beginning in Haiti in the early sixties, Zombi Child" deals with voodoo and is one of the best and most poetic horror films in many a moon. It is obvious from the title and the setting that we are meant to think of a much earlier film with a similar setting but that would appear to be where the comparisons with Jacques Tourneur's "I Walked with a Zombie" ends for in the next scene we are in comtemporary France and a group of schoolgirls are being taught French history in a very white classroom. What follows is a deliciously unsettling movie that manages to encompass the pains of teenage romance with a tale of the 'undead' as a metaphor for colonialism and it actually works. I can't think of too many examples in recent cinema where two opposing themes have been as beautifully united as they are here. In some ways it's closer to something like "The Neon Demon" or the recent remake of "Suspiria" than it is to Val Lewton. Here is a film with a creeping sense of dread, we've all seen films in which schoolgirls are not as sweet as they appear to be) and the grand guignol finale is as spooky as a good horror movie should be. It also confirms director Bertrand Bonello as one of the most exciting talents working anywhere today.

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Although the last twenty minutes are breathless, the introduction languishes and lasts about eighty minutes. Thus, in order to appreciate the very ending, you'll have to be patient. very patient... A Criança zombie loan. Last summer at Cannes, it seemed like we just couldn’t get away from all the zombies and genre cinema splattered on-screen. From Jim Jarmusch ’s deadpan “T he Dead Don’t Die, ” to Mati Diop’s artful “Atlantics, ” you couldn’t escape the living dead on the croisette. Bertrand Bonello ’s Zombi Child, which played in the director’s fortnight sidebar, is a zombie movie, but one filled with dangerously spiritual voodoo. Bonello’s ambitious, but complicated film is split into two back-and-forth settings: 1960s Haiti, where a man ( Mackenson Bijou) dies and is resurrected into hardcore slavery on a sugar plantation; and present day Paris, as Haitian teenager, Mélissa ( Wislanda Louimat), a new student at an all-girls private school, is quickly taken in by a secretive sorority of white girls. Bonello’s mixing of genres, coming-of-age, romance, supernatural and horror, makes it difficult for the viewer to truly be sucked into Bonello’s phantasmagoric world. The director’s last film, the excellent “ Nocturama, ” worked at a higher level because it delved into a fully lived-in but simple and accessible setting, a shopping mall. Bonello’s message in “Zombi Child” seems to be about cultural appropriation, one mixed in with Mélissa’s white, lovesick classmate ( Louise Labeque). The first-world views that arise from the white-collar students in the film seem like a distant, but honest reflection of the current French zeitgeist, one in which the Haitian population is ever-so-growing but lacks the desire of conforming to the French white way of thinking. The dramatic and cultural conflicts, however, are only teased upon by Bonello here. We get it, there are unconscious biases with us white folks but it ends with a climax that’s more exposition than satisfying resolution. The entire film feels coalesced in a way that feels both messy and uninvolving. It feel like a rather strange brew of things, but it never resorts to finding its own identity within that convoluted mix. [C-].
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