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 so convincingly that you’ll find yourself double-checking the headlines. But here’s where it gets controversial: what if the catalyst for this horror wasn’t some mysterious virus, but a blunder by a global superpower? The United States Navy, in a catastrophic misstep, unleashes an experimental weapon near Tasmania, decimating the island’s population and leaving the Australian Prime Minister fuming at their supposed ally. This isn’t just a disaster movie or a horror flick—it’s a scathing commentary on our volatile times, wrapped in a story where the undead refuse to stay buried.
At its core, We Bury the Dead is a deeply personal exploration of loss. Hilditch, a Perth-based filmmaker, admits the film was born from his own grief following his mother’s death. ‘I started with the idea of processing trauma and finding a way to move forward,’ he explains. ‘Zombies were the last thing on my mind when I began writing, but the theme of unfinished business kept haunting me.’ And this is the part most people miss: beneath the gore and chaos lies a poignant portrait of human resilience and the lengths we’ll go to for closure.
Enter Daisy Ridley, the Star Wars alumna who delivers a performance so layered it’s impossible to look away. She plays Ava, an American physiotherapist who lands in the militarized zone of Devonport under the guise of aiding recovery efforts. Her real mission? To venture into the devastated south of Tasmania, where her husband was last seen, in hopes of finding him alive. Ava’s journey is a rollercoaster of emotions—grief, determination, and sheer terror—and Ridley captures it all with raw authenticity. ‘Daisy didn’t just act this role; she lived it,’ Hilditch says. ‘Her commitment to Ava’s journey, from the quiet moments to the heart-pounding action, is what makes this film unforgettable.’
But Ava isn’t alone in her quest. She’s joined by Clay, a motorbike-riding Aussie larrikin played by Brenton Thwaites (Titans). Clay’s foul-mouthed humor—complete with C-bombs that would make a sailor blush—adds a surprising levity to the apocalypse. ‘American audiences ate it up,’ Hilditch laughs. ‘To them, Clay is the quintessential Aussie, and they couldn’t get enough of his unfiltered charm.’ Yet, their escape plan hits a snag when they cross paths with Riley, a no-nonsense cop portrayed by Mark Coles Smith (Mystery Road: Origin). ‘Mark brought a intensity to the role that I hadn’t seen before,’ Hilditch notes. ‘That sequence in the creepy old house? It’s like we made a Hitchcockian thriller within a zombie film.’
Filmed in Hilditch’s home state of Western Australia, We Bury the Dead is a testament to his ability to balance the apocalyptic with the intimate. ‘I’ve always been drawn to ordinary people facing extraordinary circumstances,’ he says. ‘This film takes that idea to a deeply personal, cathartic level.’ Echoes of his breakout hit, These Final Hours (2013), are evident—both films explore the human condition in the face of doom. In These Final Hours, Nathan Phillips plays a bricklayer who abandons his girlfriend to party as an asteroid hurtles toward Earth, leaving Australians with just 12 hours to live. Hilditch also draws inspiration from Peter Bogdanovich’s Paper Moon, particularly its odd-couple dynamic, and Danny Boyle’s 28 Days Later, which he cites as a game-changer in his filmmaking journey.
We Bury the Dead is more than just a zombie film; it’s a monumental Australian story that’s witty, wicked, and emotionally wrenching. After a successful festival run, Hilditch is eager to bring it to cinemas nationwide. ‘Seeing audiences react in real-time—that’s why I do this,’ he says. ‘It’s about telling stories that resonate, that make people feel something.’
But here’s the question that lingers: In a world where disasters feel increasingly real, does a film like this serve as a cautionary tale or a twisted escape? And how do we reconcile its dark humor with the weight of its themes? Let’s hear your thoughts in the comments—agree or disagree, this is one conversation you won’t want to miss. We Bury the Dead is in cinemas now, and trust me, you’ll be talking about it long after the credits roll.
