In a very short space of time, it ends into a compulsively disturbed headspace. Deadgirl then segues into being as much a Necrophilia film as it does a zombie film. The film has almost been conceived as a version of River’s Edge (1986) – the socially grim film about a teenager who strangles his girlfriend and where his peers do nothing but regard the corpse as a curiosity, albeit this being a version where the dead girl also happens to be a zombie. That said, Deadgirl is one zombie film that does something fascinating and original with the genre. Noah Segan with the imprisoned Deadgirl (Jenny Spain) on the bench (For a more detailed overview of the genre see Zombie Films). Amidst this, not many zombie films did anything original. Over the next few years the zombie film turned to self-parody or gonzo mash-ups ranging from Zombie Strippers! (2008) to Pride and Prejudice and Zombies (2016). These produced a great many imitators but most of these soon proved themselves of limited potential, endlessly circling around the same plot. The zombie film re-emerged with great force in the mid-2000s following the success of films such as Resident Evil (2002), 28 Days Later (2002), Dawn of the Dead (2004) and Shaun of the Dead (2004). Deadgirl played at quite a number of international film festivals. Harel has not done anything since Deadgirl but Sarmiento went on to make the D is or Dogfight episode of The ABCs of Death (2012) and the Vicious Circles episode of V/H/S Viral (2014), before returning with the full-length horror films Totem (2017) and Faceless (2021). Sarmiento had previously made the reasonably high-profile Heavy Petting (2007) and Harel Operation Midnight Climax (2002). Deadgirl was a collaboration between American director Marcel Sarmiento and Israeli-born Gadi Harel.
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