In MadS (2024), a French zombie movie, a young party goer becomes infected with a strange virus. Shot in one continuous take, the film packs a lot of frantic energy and has a lot of unpredictability, but the limitations of the form may have some viewers restless while watching.

The movie begins with a young man scoring coke from his dealer. On the way home, he is forced to pull over, which is when a strange woman jumps into the car and appears to kill herself, splashing him with blood. Frantic, he drives home and is drawn out of the house by a woman he’s dating and their friends for a night out on the town. As the night wears on, he becomes increasingly paranoid, appears to have gas mask-wearing soldiers with rifles chasing him, and finally breaks down and acts erratic.

The film then switches point of view to the woman and then to her friend. Along the way, it’s uncertain if they’re sharing a really horrible drug trip or turning into zombies. This is more or less answered by the end, but the question hung over much of the movie for me.

The movie doesn’t bother too much with character, preferring to lean on the one continuous take to stimulate the viewer. The only trick is this can be fatiguing, and there are very long stretches of the POV character moving from place to place where not much is happening.

By the end, I felt like I’d eaten a chocolate bar for dinner, if you know what I mean.

All in all, though, I had fun with it. The continuous take is always an impressive technical feat. The actors all act naturally, which along with the somewhat grainy aesthetic gives the whole thing a bit of a cinema verite feel. It’s both a zombie movie and not a zombie movie, inspired by them but doing its own thing, showing how a z-poc might start from the infected’s point of view.

In the Filipino zombie movie OUTSIDE (2024, Netflix), a family faces its dark secrets and inner demons against the backdrop of a zombie apocalypse. Though arguably it could have used more zombies and a bit more action, the movie is a breath of fresh air in a genre whose tropes have been overworked by Hollywood, focusing on the human toll of stress when everything falls apart.

The movie begins with a family traveling into the countryside, where Francis (Sid Lucero) believes they can find refuge with his parents. He brings Iris (Beauty Gonzales) and their boys Josh (Marco Masa) and Lucas (Aiden Patdu). They take over the sugar plantation and attempt to hold out, but Iris is anxious about reaching other survivors and wants to leave, while Francis wants to stay.

There’s a lot of slow burn family drama and psychological horror here, as the characters and what drives them unravels like the proverbial onion. Iris appears cold, but she has her reasons. Francis is insecure and tries too hard to prove himself as a man, but he has his reasons. All of it enhanced and salted by not knowing if anyone else is alive amid civilization’s collapse; instead of putting aside all the old stuff because the world is ending, the movie makes the point that the opposite may be true. The actors do a great job communicating in a layered way, both what they want and what they need.

The zombies are pretty well done, nicely creepy. The only trick is by the third act, they start to fade as a threat until the very end, while the family drama boils over. I was all in for it, as I greatly enjoyed the movie and was happy to go where it took me, but some might not be. The location was interesting too, taking us into the rural Philippines.

Overall, I liked OUTSIDE a lot. I’ve seen a lot of zombie movies, and while this one ain’t perfect, it’s good. Where movies like WORLD WAR Z excelled in action but failed in basic character development and making us care, OUTSIDE goes the other way, not providing nearly as much action but offering richly drawn characters who feel like real people, thrown into a claustrophobic horror of the apocalypse.