When enthusiasts of the horror genre reflect on the quintessential zombie movies, iconic titles like Night of the Living Dead, 28 Days Later, and <em>Zombieland</em> often come to mind. These films typically portray zombies driven by an unquenchable thirst for human flesh and brains. Consequently, the human characters are portrayed engaging in desperate measures to survive, whether through hiding, running away, seeking refuge, or mounting a physical defense. This familiar narrative framework defines the majority of zombie-themed stories, although there are notable exceptions. RomZoms, as a subgenre, infuse more complexity into the human versus zombie conflict, evident in films such as Tim Burton‘s Corpse Bride and the 2013 film Warm Bodies. Additionally, zombie comedies like Shaun of the Dead and Little Monsters make significant contributions to the undead genre. In stark contrast, Gadi Harel and Marcel Sarmiento‘s 2008 film Deadgirl diverges sharply from the traditional zombie movie formula, presenting a narrative that is neither romantic nor comedic, but rather brutal, exploitative, and profoundly disturbing.

Deadgirl subverts the conventional zombie narrative by portraying humans as the true villains, positioning the undead as their innocent victims. The plot centers around two teenage boys, JT (Noah Segan) and Rickie (Shiloh Fernandez), who stumble upon an abandoned hospital after school. During their exploration, they encounter a mute, undead woman (Jenny Spain) chained to a table. Despite her being a literal zombie, JT immediately perceives her as an object for exploitation, even assigning her the dehumanizing nickname “Deadgirl,” which gives the film its title. He embarks on a path of exploitation, subjecting her to horrific acts of rape and physical abuse driven by his twisted fantasies. While Rickie exhibits some hesitation and even attempts to rescue her, he ultimately becomes complicit in keeping her existence a secret. As JT recruits more teenage boys into this grim scenario, the situation escalates rapidly, spiraling out of control.

What Makes ‘Deadgirl’ a Disturbing Addition to the Zombie Genre?

Deadgirl’s storyline is uniquely unsettling as it unveils the profound depravity of humanity, particularly that of a lonely male teenager. Unlike typical zombie films and series such as The Last of Us, which often explore themes of humanity and the conflicts that emerge during times of crisis or apocalypse, Deadgirl lacks this overarching narrative context. This absence renders the violence depicted in the film even more grotesque, as it is portrayed as entirely gratuitous. JT’s assault on the undead woman is a manifestation of his entitlement and depravity, aligning him with the incel archetype: harboring contempt for women, often fueled by rejection or toxic masculinity, while simultaneously feeling entitled to their bodies and autonomy. In this film, the true monsters are not the undead but rather the seemingly ordinary boys whose cruelty hides behind a façade of normalcy.

Deadgirl also indirectly engages with the revenge subgenre. As the woman suffers repeated abuse, the boys’ carelessness ultimately provides her with opportunities to retaliate. However, the audience is never granted access to the deadgirl’s consciousness or her perspective, which diminishes the impact of the horrific violence inflicted upon her. This lack of a direct female viewpoint represents a significant flaw and oversight in the film. Even though Deadgirl effectively portrays the “monster” as the victim and the humans as the perpetrators, it misses a crucial opportunity to allow the audience to witness the story through her eyes. On a positive note, this film was one of the pioneers in the early 2000s horror landscape that addressed the incel trope and explored its implications alongside the revenge themes, making it noteworthy.

Additionally, Rickie’s character embodies the white knight trope. He presents himself as the archetypal “nice guy” to girls, but his underlying motivations are rooted in self-interest and desire. By the time the audience realizes his true nature, it is too late for any possibility of redemption. This adds a layer of complexity to the white knight trope, as Rickie does initially exhibit good intentions but ultimately transforms from a potential hero into a villain as he attempts to “save” girls.

‘Deadgirl’ and Other Films Illustrate That Humans Are the True Monsters

The theme that humans are the “true” monsters deserving of society’s fear is not a new concept. This notion is explored by Ryan Murphy in his Monster series, where the first season focuses on notorious figures such as Jeffrey Dahmer, and the second season delves into the cases of the Menendez brothers. Recent cinematic works like The Brutalist, Mickey 17, and A Different Man also explore this theme through different lenses. The film also examines the issue of male-on-female violence among teenagers, as previously mentioned, with JT epitomizing the typical incel character. These concepts are further unpacked in Jack Thorne and Stephen Graham‘s Netflix limited series, Adolescence, which provides a profound commentary on the origins of gendered hatred. While this theme is not revolutionary, it remains critically relevant in today’s society.

Deadgirl may not be groundbreaking, but it is worthy of revisiting as an early 2000s low-budget horror film that interprets the trope of humans as the real monsters in society. Despite its shortcomings, such as the lack of a female perspective and its exploitative nature, its implicit critique sheds light on some of humanity’s most disturbing issues. By depicting the undead as the exploited, dehumanized victims, the film starkly highlights the moral failings of the human characters involved, completely subverting the traditional monster narrative. Ultimately, it serves as a grim yet essential lesson about the harsh realities of the world, dramatized in a deeply unsettling manner.