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Netflix's Unexpected New Zombie Movie Breathes Fresh Air into a Stale Category

Typically, I've grown tired of undead films. While classics like 28 Days Later and the early episodes from The Walking Dead were enjoyable, the genre feels largely depleted at this point. Yet the highly anticipated 28 Years Later has been sitting in my watchlist for months. But, Netflix's new Indonesian horror film, The Elixir, succeeded in subvert what I anticipated and proved remarkably entertaining.

Superb Pacing and Personal Development

Among this movie's strongest assets lies in the superb pacing. It begins with a memorable opening sequence in which a calm family party is violently disrupted by a vehicle crashes into the guest area. From the wreckage, an extremely zombie-like individual stumbles out proceeding attacking the partygoers. This intense moment is then succeeded by a flashback, allowing us to see this household before the tragedy occurred.

Unlike many zombie films, The Elixir actually allows viewers sufficient opportunity to become acquainted with its main characters prior to the chaos begins. There's Nes, a wife and mother whose former best friend, Karina, is now wed to her dad—an obviously awkward dynamic. This has understandably led to a rift between the two women. Then there's Nes' brother, Bang, described as good-natured but socially awkward, and he enjoys playing video games with Nes' young son, Raihan. Nes' husband, Rudi, appears to have recently cheated on her. This household head consists of her dad, who runs a well-known herbal remedy company called Wani Waras, and who appears to care about only two aspects: his work and his marriage to Nes' former best friend. Needless to say, this gathering proves extremely strained.

Engaged in the Drama

I became so invested with this family's dynamics and their personal conflicts to the point I nearly forgot I was watching a horror film—something that could seem like a negative, yet ultimately worked well. The Elixir dedicates a considerable portion of its runtime depicting viewers who each relative is, and how they contribute to the general dysfunction. This focus on clashing traits allowed the audience to connect with the characters enough to be concerned for their fate—an uncommon accomplishment in a genre that often presents individuals only to eliminate them shortly afterwards. The Elixir doesn't treat its characters as flat, expendable casualties for an army of the undead to consume, thus it's a genuine shock when things finally deteriorate.

Evocative of Parasite

The opening sequences of the party and various household exchanges in fact bring to mind the film Parasite, a story that masquerades as a K-Drama with somewhat morbid humor before making an abrupt turn into shocking ground. These introductory moments aren't centered as much on humor as Parasite, yet The Elixir nonetheless gives enough opportunity to settle into its world prior to everything gets turned upside down.

Unique Zombification Source

This movie additionally presents a fairly intriguing explanation for the source of the contagious transformation. Instead of an accidental laboratory incident or a type of biological weapon, the cause for this contagious disease originates in a new sample of Wani Waras herbal remedies developed by Nes' father. Although some background is provided something regarding its origins, it would have been better if the film devoted a little more focus explaining how Wani Waras went from a reputable purveyor of holistic medicine to producing a lethal potion which seems to contain an extremely infectious virus. Regardless of the limited background, the impact this affliction has on humans proves utterly repulsive, and I love it. The Elixir's undead prove quick, bizarre in appearance, and, perhaps worst of all, constantly grinning. This represents a daring choice, but it works. The Elixir's practical effects and CGI also appear quite realistic, and are almost guaranteed to trigger a fear of holes.

Capable Characters

More impressive than the disgusting scenes are the characters themselves. Certainly, there are some examples of dubious decision-making (like any any good zombie movie), but for the most part, Nes and her family are resourceful and sharp. They also aren't afraid to strike an undead in the face, pierce it with a pitchfork, or beat it over the head with whatever blunt instrument is available instead of freezing like a deer in headlights as death nears.

Realistic Family Strike

The Elixir doesn't drop its themes of familial discord once individuals begin transforming to the undead, which was a pleasantly realistic deviation from the "We don't get along|"We have issues, but since you nearly died I immediately pardon you for everything! cliché often seen in apocalyptic movies. Obviously, Nes loves her family and cares about her spouse, Rudi, yet it's equally apparent she remains holding onto bitterness over his betrayal in their relationship. When the family gets separated, they decide via telephone to meet up at a close location. But when Bang reveals he is unaware the way to the location, Nes expresses a massive amount of frustration on her brother which has obviously been brewing for years. Nes is not perfect, and her family—flawed as it is—seem realistic and relatable because the film avoids attempting to promote the idea that a near-death experience immediately resolves family tensions. This causes the moments where these individuals express gratitude toward one another feel far more genuine.

Predictable Conclusion

In spite of The Elixir's best attempts to break new ground, the conclusion must be said to be a bit formulaic. The Elixir doesn't truly presenting some profound insight regarding relatives or community, as well. Rather, it's primarily serving up scares. Yet these are successful scares, and because the movie gives each character enough room to develop and avoids penalizing them for having flaws, the outcome is a captivating and entertaining

The writer

Sara Phillips

Tech enthusiast and writer with a passion for exploring how innovation shapes our digital future.

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