Typically, I've grown tired of undead films. Although favorites such as 28 Days Later and the early seasons of The Walking Dead were gripping, this category seems mostly depleted nowadays. Yet the much-awaited 28 Years Later has been gathering dust in my watchlist for some time. However, Netflix's latest Indonesian zombie flick, The Elixir, managed to defy my expectations and proved remarkably enjoyable.
Among the film's greatest strengths is its superb pacing. It kicks off with a memorable opening sequence in which a peaceful family gathering is violently interrupted when a vehicle crashes into the guest area. Out of the van, an extremely undead-looking individual stumbles out proceeding attacking the partygoers. This intense moment is immediately followed by a look back, allowing us to observe the family before the disaster struck.
In contrast to many zombie films, The Elixir truly gives the audience sufficient opportunity to get to know its main characters before the carnage ensues. There's Nes, a wife and mother with a former close friend, Karina, has become wed to Nes' father—an obviously awkward situation. This has predictably caused a falling out between Nes and Karina. Then there's her sibling, Bang, who is good-natured but a bit inept socially, and he loves playing video games alongside Nes' young son, Raihan. Nes' husband, Rudi, seems to have lately cheated on Nes. The family head consists of her dad, who runs a well-known herbal remedy company named Wani Waras, and who appears focused on only two things: his business and his wife to his daughter's ex-best friend. Needless to say, this family reunion is extremely tense.
I found myself so engrossed with this household's issues along with their personal conflicts to the point I almost forgot this was a horror film—which might seem like a negative, but ultimately paid off. The Elixir spends a considerable amount of the film to showing viewers who each relative represents, plus the ways they contribute to the overall turmoil. This focus on conflicting personalities allowed the audience to connect with the characters sufficiently to be concerned for their fate—a rare accomplishment in a genre that often introduces individuals only to eliminate them shortly afterwards. The Elixir doesn't treat its characters as flat, disposable victims for an army of zombies to consume, so it's a genuine surprise when things finally go wrong.
The initial sequences of the party and the multiple household exchanges actually bring to mind the movie Parasite, a tale which disguises itself as a Korean drama with somewhat morbid humor prior to making a sudden turn toward shocking ground. These introductory moments aren't centered too heavily on humor as Parasite, yet The Elixir still gives enough opportunity to settle into its world prior to it gets upended.
This movie additionally presents a fairly intriguing explanation regarding the origin of the spreading zombification. Instead of an accidental laboratory incident or some sort of bioweapon, the cause for this infectious condition stems from a recent batch of Wani Waras herbal remedies developed by her dad. While we do learn something regarding how it started, I wish the film devoted additional time on how Wani Waras transitioned from a trusted supplier of natural treatments to producing a deadly potion that appears to contain a highly contagious pathogen. Regardless of the lack of context, the impact this condition has on humans is absolutely disgusting, which I appreciate. The Elixir's undead prove quick, freaky-looking, and, maybe most disturbingly, constantly grinning. This is a bold decision, but it succeeds. The Elixir's physical effects and CGI are also quite realistic, and are almost certain to trigger one's trypophobia.
More impressive compared to the gross-out scenes are the characters themselves. Of course, we see some instances of dubious choices (like any any good undead film), however for the most part, Nes and her family show themselves resourceful and sharp. They also aren't afraid to strike a zombie in the face, pierce it with a pitchfork, or beat it on the skull with the nearest heavy object they find instead of standing still like prey in headlights while danger nears.
The Elixir doesn't drop its themes of familial discord once individuals begin transforming to the undead, this proved a pleasantly realistic deviation from that "We don't get along|"We have issues, but you almost died I immediately pardon you for all your mistakes!" trope frequently used in apocalyptic films. It's clear, Nes cares for her relatives and values her spouse, Rudi, yet it's equally clear she remains holding onto bitterness regarding his infidelity of their marriage vows. When the family gets separated, they agree over the phone to regroup at a close spot. However, once Bang reveals he is unaware the way to the location, Nes expresses an immense amount of frustration on her brother which has obviously been building for years. Nes isn't flawless, and her relatives—flawed as it is—seem realistic and understandable since the movie avoids attempting to push the idea that a near-death experience immediately resolves familial strife. This makes those instances when these characters do show gratitude for each other feel far more sincere.
Despite The Elixir's best attempts to break new ground, the conclusion must be said to be somewhat formulaic. The Elixir isn't really offering up any deep insight about family or community, as well. Rather, it's primarily delivering frights. But they're effective scares, and since the movie gives each character sufficient space to grow and avoids penalizing them for having flaws, the result proves a captivating and entertaining
Eva de Vries is a passionate book lover and local writer from Eindhoven.
