“A fine fable about life, death and female self-determination (plus zombies).” — The New York Times
With women in every major creative role, Ever After (Endzeit) is a different kind of zombie movie. Set during a terrifying near-future zombie apocalypse, Carolina Hellsgård’s second feature is chilling and doomladen, but it’s also a transfixing, gorgeous, and unusually intimate sort-of road movie — in which humanity has come to its end and nature is reclaiming its terrain.
A plague has swept the world. Weimar and Jura, the only surviving cities, have very different approaches to the epidemic. In Weimar, Vivi — vulnerable and numb as a result of apocalypse-triggered tragedies — reluctantly volunteers at the city’s perimeter. It is at the ramshackle outer fences, requiring constant defence from attacks by infectious cannibal revenants, that she meets Eva, whose icy stoicism makes a striking contrast to Vivi’s delicate fragility. Following an attack at their post, they board an automated supply train bound for Jena, whose more humane approach to the victims of the epidemic offers some hope for the future. When the train unexpectedly breaks down, Vivi and Eva are left to fend for themselves in a countryside teeming with dangers and marvels they never dreamed of.
“Beautifully crafted.” — Los Angeles Times
This year’s annual Williams College German/Austrian Film Festival focuses on science fiction. The festival, titled “Dark Futures,” presents three recent films that take place in imaginary future worlds, but tackle issues that face us here and now: fear of change, deep trauma, family conflict, and loneliness.
Presented by Williams College Department of German and Russian and the Center for Foreign Languages, Literatures, and Cultures