Starring: Berant Zhu, Regina Lei and Ying-Ru Chen
Directed by: Rob Jabbaz
Running Time: 100 minutes
This wouldn’t be the first time, nor will it be the last time, that I say that I ultimately enjoyed a movie I can’t really recommend. For perspective, I’ve said that about films like “Swiss Army Man,” “Vortex” and damn near anything with Troma’s name on it. Even then, I still talk about those movies as interesting films to watch in the hopes that someone amongst my group of friends who don’t watch the insane amount of films that I and other critics watch will give it a peruse and see what I see. I don’t think that will happen with “The Sadness.”
As if the zombie genre wasn’t already slightly depressing enough with its themes of the world ending and the trashiness of society, a film like “The Sadness” comes along and spits on all of them before flipping the bird. “The Sadness” begins with a couple, Kat (Lei) and Jim (Zhu) talking before their individual days at work. It’s through this early morning, post cuddling conversation that we learn about the Alvin virus, a virus that’s clearly an allegory for COVID-19. But unlike COVID-19, the Alvin virus has an alarming chance to mutate into rabies on crack. Which it does. Once it does, the couple is already split up heading off to work and now with everything descending into chaos, they have to work their way across Taiwan’s capital to reunite, but nothing is ever that simple.
The zombie virus in “the Sadness” turns everything up to 11, as the people who become zombified don’t simply walk around slowly and munch on brains. This virus makes people act upon their most primal urges, whether it be sadistic violence or even more sadistic sex. So, if you get squeamish over sexual violence, appendages being torn off, knives entering orifices’ or a blood orgy of severed limbs and viscera, this movie is probably one huge trigger warning that will have you running to the nearest exit and trash can to throw up in. But at my screening, every person sat in their seat horrified and mesmerized with the occasional “oh my god” and “what the fuck” splattered amongst us.
While the brutality clocks in at over an hour and a half, the film manages to squeeze in every bit of plot and mayhem without sacrificing the other or making the audience members, who have the stomach for it, check their phone for a time. The actors, who deliver some of the vilest lines seen outside of a snuff film, gnaw on the scenery with such ferocity I wouldn’t be surprised if people began having nightmares about their black, red tinted haunting eyes and blood-soaked grins. It’s very clear from the get-go that director/writer Jabbaz isn’t concerned about whether or not he’ll work again.
Like any good zombie film, “The Sadness” does have a message, albeit one deep in bitter nihilism. Having just exited a pandemic, “The Sadness” does reflect on humanity’s collective response to a virus as well as some jabs at the rising autocracies around the world that took advantage of the unthinkable. That being said, “The Sadness” seems to have its eye on future pandemics and how well humanity can come together to overcome the next mutated strain of a disease we have yet to encounter. If “The Sadness” is a representation of our past, present and future, I think it’s clear we are all fucked.