In Les revenants (They Came Back, 2004) the threat posed by a vast river of bodies inexplicably risen from their recent deaths, is far more internal than losing jugulars and seeing outbreaks of mass contagion. The film — directed by Robin Campillos — relies on the primitive terrors of tragedy, pressed much harder in this curious return.
Such setup proves quite affecting, too: the film’s “returnees” don’t need to be resurged into ravage monstrosities that tear their loved ones by the limb, but only walk with their familiar — if ominously withdrawn — faces. Those left behind are maimed internally by reliving the tragedy of the returnees’ deaths, neglecting all the pains and defeats in the goodbyes and moving-ons that the years have demanded.
There’s a fine allegory in all this: the film rendering a bloodless sort of terror, with the returnees aiming at their reintegration to their societal roles, gradually returning to their primary senses and finally to a state in which they will be of use to their society — a breath of the same revisionist air in Danny Boyle’s 28 Days Later, if very different in approach. In a small French village, thousands of the undead (a sample of the entire 70 million) walks; they have not a dint of clue of their passing nor initially that of using their primary skills: speech, comprehension, consciousness, etc. No threat surfaces in their sudden reanimation — at least not initially — but a particular sense of dread creeps in, with Campillos’ camera set on the living dead, following them as they engulf their entire village.
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Death takes many forms because it takes a form to define it. And the film has chosen the perfect vessel: the returnees, for whom the left ones have taken the burden to say goodbye to in the past, now return with a tease — at best — of illusory hope. In the film’s climax is not a drop of blood, only the ghostly cries of those once again left behind, betrayed by a second-time tragedy, a chance we would surrender too and would be powerless against not taking.
