The eighth long film by Bertrand Bonello resorts to fantasy and horror cinema as the mechanism to tackle contemporary political and social issues. On one hand, the figure of the living dead, whose reflection is found in Mélissa (Wislanda Louimat) and her aunt Katy (Katiana Milfort), direct descendants of the revived Clairvius Narcisse (Mackenson Bijou), is used to show the heritage of the colonial past on the future generations to those whose went through it forehand. It is as well related to the celebration of Haiti’s culture and tradition, whose close relation with after life through ritual becomes essential by introducing one of the main topical interests of the last part of the film by the French filmmaker, from Nocturama (2016) to The Beast (La bête, 2023): individual freedom. Because if something finally enhances Zombie Child (2019) is its impossibility. Clairvius’ empowerment, who returns to life to submit himself to the ruling mandate in the sugarcane plantations of Haiti in the 60’s, as proved by the inclusion of You'll Never Walk Alone (Gerry and the Pacemakers, 1963), acts from irony. In the same way, in current France, young girls, as their subject to imposed protocols by an educational institution, they execute movements similar to choreography, i. e.; the salutation in front of the director of the elitist center in which they are interned. Or, as in Fanny (Louise Labèque) and Katy’s case are prisoners of the memories, and they yearn the contact, even the possession of those who went away or are no longer here. This last side is the one allowing the films to enter an obsession climate, the same both women keep, where Bonello exposes again his very particular sense of humor at the same time as he establishes a definitive, unbreakable relationship, between reality and desire, life and death, past and present. Prisoners in vital situations of complex decision, if not impossible; aren’t we even zombies? MARCOS VASCO MARTÍN-GRANDE