And by now, we’re more or less expecting it. The movie is gentle, almost sluggish, and takes some weird left turns - in other words, it’s a Jarmusch film. The director’s star-studded zombie film The Dead Don’t Die, which opened the 2019 Cannes Film Festival, draws heavily on Romero’s movie but drags it into our own age of weary dread. Vox-mark vox-mark vox-mark vox-mark vox-markĪnd Jim Jarmusch certainly agrees. Though Romero denied that he was trying to make a big point, it’s not hard to read Night of the Living Dead as a critique of Cold War politics, a metaphor for 1960s American society, or a story about race. That basic template has been reanimated over and over again, in everything from Zombieland to The Walking Dead to Game of Thrones to Get Out, all of which have something to say about how societies of people do, or do not, sustain themselves in the face of imminent threats.
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It told a simple story: A house full of the living try to survive the slow but unyielding onslaught of the undead, but their arguments about just how to do that spell their doom. The grandaddy of them all was George Romero’s 1968 film Night of the Living Dead, which created modern zombie lore. The prospect of being turned into a soulless, mindless shell of your former self is particularly frightening, which is why zombies have been a mainstay of apocalyptic entertainment for decades.
How the zombie represents America’s deepest fears
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