Imagine a world where a zombie apocalypse isn’t just a far-fetched fantasy but a chillingly plausible scenario—one that unfolds not in a distant land, but right in the heart of Tasmania. This is the gripping premise of Zak Hilditch’s We Bury the Dead, a film that blurs the lines between reality and fiction in the most unsettling way. But here’s where it gets controversial: what if this apocalyptic tale is more than just a horror flick? What if it’s a deeply personal exploration of grief, trauma, and the unyielding human spirit?
At first glance, the synopsis of We Bury the Dead reads like a headline ripped from today’s chaotic news cycle. The U.S. Navy, in a catastrophic blunder, unleashes an experimental weapon near Tasmania, decimating the island’s population. The Australian Prime Minister is livid, and the world watches in horror as the so-called ‘Apple Isle’ becomes a graveyard. But this isn’t just a disaster movie—it’s a horror story where the dead rise, their minds scrambled, refusing to stay buried. Perth-based filmmaker Zak Hilditch masterfully weaves together a narrative that’s equal parts terrifying and poignant, tapping into the anxieties of our increasingly turbulent times.
And this is the part most people miss: beneath the zombie mayhem lies a tender portrait of loss. Hilditch reveals that the film’s roots are deeply personal. ‘We Bury the Dead started as an exploration of grief, following the death of my mother,’ he shares. ‘I was dealing with the trauma of that and finding a way to move through it.’ What began as a cathartic journey evolved into something far more complex. ‘I never thought I’d end up infusing it with zombies,’ he admits. ‘But this notion of unfinished business wouldn’t leave me alone.’
Enter Daisy Ridley, the Star Wars alumna who brings a remarkable depth to her role as Ava, an American physiotherapist with a hidden agenda. On the surface, Ava arrives in the heavily militarized Devonport to assist with the cleanup. In reality, she’s on a desperate mission to find her husband, who was visiting Tasmania when the disaster struck. There’s unresolved tension between them, and Ava is willing to face hell itself to settle the score. Ridley’s performance is a tour de force, blending vulnerability, determination, and raw grief into a character you can’t help but root for.
‘This movie wouldn’t exist without an actress who could hold it in the quiet moments,’ Hilditch notes. ‘Daisy threw herself into every aspect of the role, from Ava’s emotional journey to the smallest details of her costume and props. She knocked it out of the park.’
But Ava isn’t alone in her quest. She reluctantly teams up with Clay, a motorbike-riding Aussie bogan played by Titans star Brenton Thwaites. Clay’s foul-mouthed humor—complete with hilariously authentic Aussie curses—provides a much-needed dose of levity in the midst of chaos. Here’s a thought-provoking question: How will American audiences react to Clay’s unapologetically Aussie personality? Hilditch laughs, ‘The Americans couldn’t get enough of Brenton. We’re still so exotic to them, and Clay’s exactly what they imagine Australians to be. They were howling.’
Their breakout attempt is soon intercepted by Riley, a no-nonsense copper played by Mark Coles Smith (Mystery Road: Origin, Beast of War). ‘Mark is an absolute gun,’ Hilditch says. ‘He’s never played a role quite like this before.’ The director spent four intense days filming a nail-biting sequence with Smith and Ridley in a creepy old house, drawing inspiration from Ira Levin’s Veronica’s Room. ‘Shooting that scene felt like making a whole different movie,’ Hilditch recalls. ‘One minute we’re wrangling zombies, the next we’re crafting a Hitchcockian thriller.’
Hilditch’s career has always thrived on balancing the apocalyptic with the intimate. ‘I’ve always loved stories of ordinary people facing the extraordinary,’ he explains. ‘We Bury the Dead takes that theme to a deeply personal, cathartic level—more profound than anything I’ve done before.’ Echoes of his 2013 breakout hit, These Final Hours, are evident. That film starred Nathan Phillips as a bricklayer grappling with the end of the world, while also rescuing a young girl (Angourie Rice) from chaos. Hilditch also drew inspiration from Peter Bogdanovich’s Paper Moon, Quentin Tarantino’s oeuvre, and Danny Boyle’s 28 Days Later—a film that left an indelible mark on him.
We Bury the Dead builds on these influences, delivering a monumental Australian film that’s witty, wicked, and wow, with just the right touch of woe. After a successful festival run, Hilditch is eager to bring it to cinemas nationwide. ‘Watching the film with audiences from Adelaide to Austin—this is what it’s all about,’ he says. ‘It’s why I wanted to tell stories in the first place: to put them on the big screen and see how people react.’
So, here’s the question for you: Can a zombie apocalypse film truly capture the depths of human emotion, or is it just another genre trope? Let us know in the comments—and don’t miss We Bury the Dead, now playing in cinemas.
