For a while, I thought I was done with zombie stories, but every now and again, I find myself surprised by films that either bring something interesting to the table or execute familiar stories in a profoundly effective way. Films like Train to Busan, The Girl with All the Gifts, Cooties, Maggie, and Wyrmwood: Road of the Dead show that there is still some life left here, and the latest addition to the genre, Cargo, can also be added to that list.
Based on the 2013 short of the same name, the film follows Andy (Martin Freeman) who – after an accident kills his wife, Kay (Susie Porter) and gets him infected with a virus, he is forced to trek the Australian outback along with his infant daughter, Rosie, in order to find a place where she can settle and live in safety before he eventually turns in 48 hours.
The short film, which you can watch here, was directed by Ben Howling and Yolanda Ramke, the latter also serving as the writer, and they return here in their same respective positions. Their take on the genre isn’t so much interested in the gore or the threat of the zombies, as much as it’s interested in the world, the people, and the psychological toll such a virus would have. This is maybe the most horrifying take on a zombie virus I’ve seen in a while, since it leans on the medical body horror aspect of it. There are stages the human body goes through once you’re infected, which we get a brief look at when Andy opens a kit filled with items such as an information card, a little watch that counts down from 48 hours, a head-stabbing device in the shape of an epinephrine pen, among several other things. When we do see characters oozing out fluid from their face, it comes across as much more terrifying than a standard decaying makeup effect.
Despite the literal ticking clock device, the film is more patient and deliberate with its pacing. At first, it might seem counterintuitive, but there’s enough confidence in the filmmaking and there’s a lot of small details to the world and the characters that makes the journey worthwhile, even at its most grueling. Similar to A Quiet Place not too long ago, Cargo deals a lot with the idea of parenthood and the struggle in coming to terms with having to leave your kids behind in a world that is so destructive and cruel once you’re gone.
The film also has echoes of Romero in its commentary on colonialism. During Andy’s journey, he finds himself meeting a fellow survivor, Vic (Anthony Hayes), who uses the outbreak for his own selfish desires. He cages up Indigenous people, and uses them as bait to lure zombies, who he then shoots and loots. This element is the biggest addition to the film since the short didn’t have much in terms of commentary. But it is a very welcome choice, especially given the involvement of many Aboriginal actors, and portraying their culture (at least, in reaction to the outbreak) in ways that are seemingly authentic. It’s not a very subtle metaphor for the kind of exploitation that Aboriginal tribes went through during colonization, but then again, some of the very best of this genre are rarely subtle about their theming.
At the center of all this is Martin Freeman, who gives what might be the best performance of his career. It’s not the kind of role you’d expect him to be in, nothing about his presence screams “leading man in a genre film,” but the same quiet, anxious vulnerability that he tends to his characters works astoundingly well here. He is very much a man out of his element, and he puts on a facade of confidence, but every now and then, he has these moments of intensity that really make the film burst to life. The supporting actors are solid, but their presence is kept at a minimum for the most part. The only exception to that being Thoomi (Simone Landers), a young Aboriginal girl who ends up accompanying Andy in his journey. She is wonderful, and manages to say a lot with mere glances. She has a compelling arc of her own, and it never feels like her story is at odds with Andy’s story, or that they’re somehow competing for screentime with one another. Their characters complement each other beautifully, and it adds more to the film’s exploration of family.
It’s become easy to dismiss zombie movies because of how oversaturated the market is with them, however, if you have any affection for the genre, Cargo is a must see. The filmmakers took a simple short film and expanded it in ways that are smart and thrilling while still making its emotionally devastating finale just as powerful, if not more so. Seriously, you should have tissues at the ready. Martin Freeman carries the film with ease, and offers one of his best turns as an actor yet. I love how the film refuses to fall into the repetitive nihilism that a lot of zombie movies and shows tend to fall into recently, instead honing in on the moments of compassion, empathy, and hope in the face of death and destruction. The heart of this film goes a long way, and I think movies can learn a lot from this.