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Vipin's Insight

Netflix's Unexpected New Zombie Film Breathes Fresh Air into a Stale Style

For the most part, I've had my fill of apocalyptic horror. While favorites such as 28 Days Later along with the initial episodes from The Walking Dead were gripping, the genre seems largely exhausted nowadays. Even the highly anticipated 28 Years Later has been sitting in my watchlist for months. But, the platform's latest Southeast Asian horror film, The Elixir, succeeded in defy my expectations and proved quite entertaining.

Excellent Pacing and Character Development

Among this movie's greatest strengths is its excellent rhythm. It kicks off using a memorable opening sequence in which a calm family gathering is violently disrupted when a vehicle crashes into the guest area. Out of the van, a very zombie-like individual stumbles out proceeding attacking the attendees. This intense scene is then followed by a flashback, allowing us to see the family before the disaster struck.

In contrast to numerous zombie films, The Elixir truly gives viewers sufficient opportunity to become acquainted with its main personalities prior to the carnage begins. We meet Nes, a wife and mother whose ex best friend, Karina, has become married to her dad—a clearly awkward dynamic. This has predictably caused a falling out among Nes and Karina. Then there's her sibling, Bang, who is kind-hearted yet a bit inept socially, and who enjoys gaming with his nephew, Raihan. Nes' husband, Rudi, appears to have recently cheated on her. This household head consists of Nes' father, who runs a popular herbal remedy company called Wani Waras, and who appears focused on just two aspects: his business and his wife to Nes' ex-best friend. Unsurprisingly, this gathering proves extremely strained.

Engaged in the Drama

I found myself so invested with this family's dynamics along with their personal conflicts to the point I nearly overlooked I was watching a horror film—something that could seem like a drawback, but ultimately worked well. The Elixir spends a considerable portion of the film depicting us who each relative is, and how they contribute to the overall turmoil. This focus on clashing traits allowed the audience to connect to the personalities sufficiently to care about their outcome—an uncommon feat in a genre which frequently presents characters just to eliminate them soon after. The Elixir doesn't treat its cast as flat, expendable casualties for a horde of zombies to consume, so it's a real surprise once events finally go wrong.

Reminiscent of Parasite

The opening sequences from the gathering and various family interactions actually bring to mind the movie Parasite, a story that masquerades as a Korean drama with somewhat morbid humor prior to taking a sudden shift toward "holy shit" territory. These early scenes aren't centered as much on comedy compared to Parasite, but The Elixir still provides enough opportunity to immerse in its world before it gets upended.

Original Infection Source

The film additionally presents a quite intriguing explanation for the source of the contagious zombification. Rather than a unintended lab leak or some sort of biological weapon, the source for this infectious condition originates in a new batch from Wani Waras natural medicines developed by Nes' father. Although we do learn a bit about how it started, it would have been better if the film devoted a little more time on how Wani Waras went from a reputable purveyor of holistic medicine to producing a deadly potion that appears to include an extremely infectious virus. Regardless of the lack of context, the impact this condition produces on people proves utterly disgusting, and I love it. The Elixir's undead prove quick, freaky-looking, and, perhaps worst of all, constantly grinning. This represents a bold choice, yet it works. The Elixir's practical effects and CGI also appear very realistic, and they're almost certain to trigger one's trypophobia.

Capable Personalities

More impressive than the disgusting moments is the cast themselves. Of course, there are a few examples of questionable choices (as in typical zombie movie), but for the most part, Nes and her family are inventive and quick-thinking. They also don't hesitate to strike an undead in the head, pierce it using a farm tool, or hit it over the head with the nearest heavy object they find instead of freezing like a deer in headlights as death nears.

Realistic Family Discord

The Elixir doesn't drop its focus on family conflict once individuals begin transforming into zombies, which was a welcome realistic deviation from that "We don't get along|"We have issues, but since you nearly died I immediately forgive you for all your mistakes!" cliché frequently used in end-of-world films. It's clear, Nes cares for her relatives and values her husband, Rudi, yet it's equally apparent she remains holding onto bitterness over his betrayal in their relationship. When the family becomes split up, they agree over the phone to meet up at a nearby spot. However, once Bang admits he doesn't know the way to the location, Nes unleashes a massive amount of frustration toward Bang which has obviously been building over time. Nes isn't flawless, and her family—with all their imperfections—feel authentic and understandable because the film doesn't try to promote the notion that nearly dying immediately resolves familial strife. This makes the moments where these individuals express appreciation for each other feel far more sincere.

Predictable Conclusion

In spite of The Elixir's strong efforts to break new ground, the conclusion must be said to be somewhat stereotypical. The Elixir isn't really presenting some profound insight about family or community, either. Instead, it's mostly delivering scares. But they're successful frights, and because the movie allows every personality sufficient space to grow and doesn't punish them for their imperfections, the outcome is a captivating and enjoyable

By

Andrea Vega

A data scientist and writer passionate about AI ethics and digital transformation, sharing insights from industry experience.

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