Endzeit

Endzeit is a distinctly moody and powerfully feminist take on the zombie apocalypse genre, directed by Carolina Hellsgård and scripted by Olivia Vieweg, based on her graphic novel. Released in 2018, this film successfully interweaves gothic horror, dystopian reality, fairy-tale fantasy, and existential drama. The film features a cast that includes actors Gro Swantje Kohlhof, Maja Lehrer, and Trine Dyrholm.

Endzeit manages to distinguish itself from the vast sea of zombie films with its evocative cinematography and the heavy emphasis it places on feminine perspectives, relationships, and growth. Instead of providing audiences with an action-packed, gore-soaked horror, Hellsgård opts for a slower, more meditative approach. This style of storytelling allows the audience to journey with the characters, thereby experiencing events and transformations through their eyes.

The film is set against the backdrop of the world wearily crawling out of the ruins of a zombie apocalypse. The plot unfolds in the ‘safe’ cities of Weimar and Jena, which harbor the last of humanity in fenced fortifications, and the hazardous land in between. Our protagonist, Vivi, played by Gro Swantje Kohlhof, is a tormented young woman haunted by her past. She is struggling with feelings of guilt over the death of her younger sister and is unable to find her place or purpose in the harsh world of Weimar.

Vivi's story collides with Eva, portrayed by Maja Lehrer, a hardened survivor with a pragmatic worldview who believes that survival demands that she becomes as ruthless and unfeeling as the world around her. These two women, each broken and hardened in their own way, are thrown together by fate when they escape from Weimar, eager to find a new place they can call home.

As the pair make their way through the ominous wilderness that is now Germany, in a train headed towards the supposedly safe city of Jena, circumstances force them to step off the beaten track. They find themselves on a path through a woods-eyed landscape reclaimed by nature, where livelihood and death sway in a spectral symphony. Throughout this journey, the world appears to be transforming, blurring the categorical boundaries between humans, animals, and even zombies.

Meanwhile, in the city of Jena, Endzeit introduces a secondary narrative centered around a mysterious gardener (Trine Dyrholm), who harbors a secret concerning the nature of the city's impenetrable defenses against the undead. The city's seemingly utopian demeanor hides darker truths that add another layer to the narrative's uncanny ambience.

Endzeit is not just about survival in a zombie infested world; it's about the struggle of the human spirit and its relentless desire to adapt and endure. The horrors resulting from the apocalypse serve as a metaphor that underlines the inherent human struggle with guilt, loneliness, fear, friendship, love, and coming to terms with tragedy. The film challenges the viewer to engage with the psychological and emotional realities that come with experiencing such a world-changing event.

Moreover, the film is visually stunning, with cinematographer Leah Striker rendering the dystopian world with an artistic flair. Striker’s cinematography captures the overgrown landscape in all its terrifying beauty, with a palette brimming with vivid greens and ominous dark shades. The film also features a compelling and hypnotic score, significantly enhancing the atmosphere and the emotional impact of the narrative.

Endzeit is provocative and evocative, a zombie film uniquely focused on existential dilemmas, feminine strength, and environmental reclamation. The combination of visual, thematic, and narrative elements presents an unparalleled experience, setting it apart from other films in the genre. It encourages us to look beyond the surface, forcing us to reckon with the horrors of our world and our stories, and how we might find humanity and hope amid the desolation.