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“I really want the zombies in this story to be a non-threat in the sense that Native people have been surviving so long that they’ve gotten quite adept at it and them being immune to the zombie bite, it’s like a superpower.”


– Filmmaker Jeff Barnaby


ging somewhere, or burning somewhere, or just being somewhere they weren’t supposed to be, and they unleashed something that triggers this epic apocalypse. To extend the idea, Native peo- ple have never really existed far from living off the land, so the idea that they would be immune to the plague kind of extends to that.” The Mi’gmaq filmmaker insists that his movie is not here to hit anyone over the head with any political agenda or grievances, and these heady themes hardly distract from the spectacular special effects – expect to see more corporeal dismemberment than cultural disenfranchise- ment, also copious amounts of guts among the moments of genuine heart. Social commentary may be par for the course when it comes to the living dead and true to the best of zombie cine- ma, but it’s the all-too-human issues that pose the biggest threat to Blood Quantum’s players. “I wanted to really make it a family affair,”


R M 28


Nature Undead: Barnaby envisioned his zombie epidemic as an environmental catastrophe; the Earth’s immune system restoring its balance.


reveals Barnaby, “and have all the conflict be in- ternal and fraternal and a real zombie story in a sense that they’re battered, and they’re trying to get out of somewhere or staying somewhere and fighting off zombies. I really want the zombies in this story to be a non-threat in the sense that Native people have been surviving so long that


they’ve gotten quite adept at it and them being immune to the zombie bite, it’s like a superpow- er. So, they were doing quite well, and I wanted it to all unravel from problems that were there before.”


Among the problems that came before is that matter of colonial genocide, for one, but Barna-


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