• Review Zack Snyder's Justice League: The Brightest, By Dark, Alternative to Marvel

What is a zombie?

Zack Snyder (Wisconsin, 1966)

turns his eyes slightly to the sky and points first to the screen and then to himself. We are the zombies. The only interest of the undead movies is that they talk about each of us who are here. We are the zombies, but without what we could call humanity. And every day that passes we are closer, "he says from the other side of the Zoom and laughs.

Army of the dead,

which today opens in a few cinemas today a week after it occupies the annoying, noisy, place of honor in the entry menu on Netflix, means the return of the director with more enemies than in turn mobilize more enemies of your enemies. That is,

the closest thing to Pablo Iglesias

that has given Hollywood and surroundings (including Galapagar). Either you hate him or you hate everyone who hates him. There's no more. “I find it incredible, fascinating, the involvement of people. I imagine it has to do with the chosen projects. For the fans, the reason for his fanaticism [and here it goes from Superman to Batman through Watchmen,

The Justice League

or his love for the slow-down so pompously elegant] is very important. I understand it and I respect it, "he says about resisting cutting his ponytail. And up to here the similes.

Snyder now returns 15 years later to what was his earliest obsession: those beings who equally represent the army of consummate blind consumerists of alienation that we all are than the disadvantaged in their multiple condition of immigrants, black or just poor. All of these are the living dead who in

Dawn of the Dead

(2004) updated the myth put into circulation by the teacher

George A. Romero

. That film, to avoid confusion, took place in a shopping center. The new one does it in all the casinos that Las Vegas is capable of. «There can be no better setting, as decadent and sickly, than Nevada City for this genre.

Las Vegas is the best example and perfect metaphor for everything we have done wrong ",

clarifies in case anyone forgot the textbook at home.

The film is actually a reformulation of

zombie

cinema

. To start with, it's a

heist movie

in which living heroes set out to raid the safest in a game city infested with dead heroes shortly before a bomb destroys everything. On the way out, the undead behave like a properly organized pack of wolves reminiscent of the army of the Night King from Game of Thrones. "The idea is to reformulate each of the keys," says protocol Snyder to then draw parallels between this and the rest of his superhero efforts. «I like Marvel movies, but my approach is different [his is DC]. Like here, in all my work my interest is to focus on the crisis of conscience that we are experiencing.

Superheroes bring us closer to the mysteries of current life as the mythology of antiquity

did to the world of that time.

Now we don't need a god to explain to us why a volcano erupts, but there are many other questions to be answered.

Many of them remain the same.

Now as then, we still do not fully understand what love is, for example, "he says and breaks out laughing.

Q.

I understand that you do not agree with Martin Scorsese when he maintains that superhero cinema is not even cinema.

R.

Well, he is not referring to my cinema [laughs again].

Anyway, I understand Martin because we have experienced saturation, but it is a genre that is here to stay.

It is our

western

.

I don't know how it will end or how long it will last, but right now we are in the middle.

It is clear.

Be that as it may, and like almost everything, the pandemic by force sneaks into a film whose first idea dates from when Dawn of the Dead was released. The film, by the way, will soon live a continuation in the form of cartoons at the same time that the director

Matthias Schweighöfer

completes the prequel

Army of Thieves

and Snyder himself does not rule out the start of a saga. Symptoms of a pandemic? “The truth is that although similarities can be drawn with Covid, it never crossed our minds. But each viewer is free, of course, "he says succinctly without giving up, yes, to become himself a spectator of his film and the world. “It is clear that we are living through a watershed moment as a global community.

Humanity has to decide whether or not it wants to survive all the crises

that threaten us and act accordingly. If we stay the same, we disappear as a species. I imagine that films like mine can serve as a warning ”, he reflects.

The multiple crisis of which he speaks is applicable to everything, even to the cinema itself.

And he is aware.

I'm not the kind of filmmaker obsessed with purity.

My movie can be viewed in the living room (and will be much more enjoyable) or on the iPhone.

But the relevant thing is that everything is seen more.

I have never done more interviews than now.

In 2001 Netflix pushed the button and now there are more than 200 million people in front of the TV.

It's another concept and theaters and

streaming

have to learn to coexist ", he says.

Is the cinema dead?

Let's learn from the zombies ... which is us.

Who can tell when they die?

Well that.

According to the criteria of The Trust Project

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