A blending of incisive drama and deft world building, with a carefully crafted exploration of social themes
The use of monsters in film to hold a mirror up to society is well documented; its success, however, is varied. All too often, messages are spoiled by heavy handed action or allegory. When deftly executed, such weaving of commentary with horror leads to gems that not only impact and inform an audience, but reinforce the potential of the genre. The Cured is one such film.
It’s a few years after the MAZE virus, an infection that presented with zombie-like symptoms, ravaged the world. After a cure was found, work began to rebuild not just infrastructure and lives of the survivors, but the previously infected too. These ‘cured’ subjects are returning to society with full memory of their actions during infection, despite not being in control of their own bodies. After release from quarantine in Ireland, Senan (a haunting performance from Sam Keeley) is taken in by sister-in-law Abbie (co-producer Ellen Page in a restrained and riveting role) who is raising young son Cillian (Oscar Nolan) alone after his father, Senan’s brother, was killed during the outbreak. Given a menial job assignment, and watched closely by his military parole officer, Senan struggles to reintegrate, compounded by the memories of his acts while infected, including one that could destroy his relationship with Abbie, knowledge of which is shared by fellow ‘cured’ Conor (an unnerving and animalistic Tom Vaughan-Lawlor), who is determined to maintain his leverage over Senan while furthering his own agenda. They and others struggle to find their place while being subjected to fear, bigotry, and straight up violence, not just at the hands of the public, but the military that are meant to be overseeing their assimilation back into society. As the already tense social order is further disrupted, and the cured find themselves pushed increasingly to the fringes of society, they begin to take it upon themselves to demand representation and respect.
To some, The Cured may seem reminiscent of the brilliant BBC show In the Flesh, but where zombiedom was there used as allegory for homosexuality, this venture weaves in commentary on the religious and political strife that has wounded parts of Ireland for so long. This review won’t serve as a history lesson, but suffice to say the collision of these two themes resulted in violent sectarian action that wracked the country for many years. The Cured similarly showcases a small proportion of society that finds their hands forced to take drastic action, but writer/director David Freyne weaves in other themes fitting to the zombie allegory too. These include the stigma shown during epidemics such as the AIDS crisis, and more timely parallels like refugees and migration, and the accompanying fear and intolerance. Of course the film doesn’t forget its roots, with plenty of horror littered throughout. Glimpses are given of the infected, both in the present and via disturbing flashbacks to actions committed by Senan while infected. Moments like these continue to illustrate the torment he is under. That said, there is a frankly egregious overuse of jump-scares, both through visible and audible action. The film also hampers itself a little by presenting Abbie as perhaps a more interesting character and better viewpoint for the film’s overarching tale. This is tempered by a subplot that sees Senan assigned to work as a porter assisting a doctor (Paula Malcolmson) who is trying to find a cure for the 25 percent of zombies who have been resistant to treatment, and are about to be culled. It’s a component that gives the film a much needed impetus that cumulates with a breathless final act.
Freyne is able to put his own stamp on the genre too, not least with presenting these ‘cured’ zombies as people who were trapped in their own bodies, committing these acts. It’s no coincidence it’s called the MAZE virus. Rather than brain-seeking mindless beasts, the film hints at some ‘pack mentality’ among them, a hierarchy even, one that seems to persist even after they are cured. This facet feeds into the exploration of political and allegiance the film explores, as Conor seeks to leverage his influence to improve his position in society, as well as those of his fellow ‘cured’. Credit is also due for subtle world-building. This Ireland is a dark world verging on the dystopic. Subtle images, phrases, and conversations hint at Ireland’s efforts and how they contrast with other counties. Checkpoints, ID cards, and propaganda/PSA posters about the MAZE virus build a sense of immersive fear.
With so much tension, grounding, and grit, The Cured feels like a instant genre classic that would pair unnervingly well with modern day zombie benchmark 28 Days Later. The film blends incisive drama and deft world building with a carefully crafted exploration of social themes, resulting in a bold and resonant piece of film-making.
