We Bury the Dead is a new film that premiered at this year’s South by Southwest Film Festival and is set for a wide U.S. release on January 2, 2026. Written and directed by Zak Hilditch, the film stars Daisy Ridley, Mark Coles Smith, and Brenton Thwaites. After a catastrophic military disaster, the dead don’t just rise—they hunt. As Ava searches for her missing husband, she uncovers something far more terrifying.

I first heard about this movie during its SXSW debut. Around that time, Ridley was also promoting Cleaner, and the two projects naturally became linked in my mind. While Cleaner was a passable thriller, Ridley’s post–Star Wars career choices have been strikingly interesting. She’s gravitating toward smaller-scale projects that benefit from her presence while gaining greater exposure thanks to her star power. Ridley consistently commits to every role she takes on—even in films with weaker material, like Chaos Walking. She’s built a strong body of work over the years, but We Bury the Dead may well be one of her best performances yet.

It’s easy to see the film wearing its influences on its sleeve. At times, it feels like an episode of The Walking Dead. In other moments, you can spot parallels to this year’s 28 Years Later—even though that film technically released after this one. Still, writer-director Zak Hilditch manages to carve out a distinct identity for We Bury the Dead, thanks largely to Ridley’s standout performance and the thematic depth he brings to the story.

Zombie films aren’t quite what they used to be; in fact, the genre has arguably stagnated under the sheer volume of The Walking Dead spinoffs and imitators. But this film takes a different, refreshing approach that feels like it’s breathing new life into the genre. It’s less a traditional zombie tale and more a human story about regret and personal flaws. The outbreak itself is contained to a single location, drawing people from around the world to aid in the crisis. Ridley’s character is one of them, and her journey becomes one of redemption and rediscovery, giving the film a resonant emotional center.

The film doesn’t overstay its welcome. At about 87 minutes before the credits, it throws you straight into the action. There’s minimal exposition, allowing you to discover this world and its characters organically as the story unfolds. That restraint pays off with several powerful twists that really struck a chord with me. The film plants its thematic seeds early and delivers an ending that ties everything together beautifully—one that genuinely left me smiling.

As a millennial, I grew up during the peak of the zombie boom. The Walking Dead, Zombieland, The Crazies—these were everywhere. This film weaves in music from that era, tracks I had completely forgotten about, and it instantly transported me back to the simplicity of those years. They weren’t perfect times, but they were undeniably simpler. The needle drops aren’t thrown in just for nostalgia; they feel purposeful, designed to evoke a specific emotional response for viewers like me who lived through that cultural moment and can connect with the film on a deeper level.

As mentioned earlier, this may be one of Ridley’s best performances to date. She carries the entire film, and from what I recall, there are very few scenes that don’t include her. As her character gradually opens up to the people in this isolated location, it’s clear she’s still holding a great deal inside. You can see it in her posture, her restraint, and the way she navigates each interaction—choices that make her feel deeply human in a place that is anything but.

There isn’t much to complain about, as I genuinely enjoyed the film. Still, I can imagine some viewers not clicking with the needle drops or finding certain plot elements a bit familiar. The film undeniably wears its influences on its sleeve, but Zak Hilditch still manages to imprint his own distinct style on it. The supporting cast—Mark Coles Smith and Brenton Thwaites—deliver strong performances with what they’re given; however, their characters could have benefited from a bit more depth and development to fully round out the story.

Overall, We Bury the Dead is a strong way to kick off the new year. It’s thrilling yet thematically resonant, anchored by one of the best performances of Daisy Ridley’s career. While the film clearly embraces its influences, it still delivers a compelling message about a deeply flawed person searching for meaning. And by the time the credits rolled, the ending left me with a genuine smile.

VERDICT: 4/5 – Great