As Kat meets a businessman (a diabolically intense Tzu-Chiang Wang) on the train, he pays her a compliment and feels further entitled to a conversation with her. Younger millennials aren’t particularly social outside of their devices, reading and scrolling through social media and never interacting with those outside of their personal cliques. Īn act of micro-aggression on Kat’s train also suggests social division between the generations. With the city filling up with the depraved, Jim tries desperately to reach Kat before they both end up vying to commit vicious acts to satiate The Sadness. Meanwhile, Kat’s ride into the city isn’t going any better, and her subway car is filled with disease-ridden sadists.
Jim witnesses the effects of the virus up close and personal, finding himself chased home by infected people. Jim drops Kat at a train station as she makes her way home and heads home, stopping at a coffee shop along the way. Any semblance of good nature in the people committing these atrocities is contained in the tears they shed as they give in to their darkest thoughts, suggesting the moral consciousness of their actions.Īmid this chaos, we watch young couple Jim (Berant Zhu) and Kat (Regina Lei) navigate the streets of Taipei. The Sadness also fits into that conversation, going off the rails quickly as an influenza-like infection spreads through the streets, causing its victims to become relentless and deranged psychopaths who get a Hellraiser kind of pleasure by inflicting pain on others through the most unconscionable acts. Tzu-Chiang Wang as Businessman, Regina Lei as Kat, Berant Zhu as Jim, and Chi-Min Chou as Old Woman | Photo Credit: Fredrick Liu/Machi Xcelsior Studios/Shudder/AMCĪ few weeks ago, as Shudder released the Uruguayan zombie thriller Virus: 32, I said the debate between zombies and Crazies was back. The Sadness isn’t just blood-soaked it’s a menacing sea of endless red prompted by shocking violence that is everything promised by the hype. Horror critics, as well as fans, have raved about its trigger warning brutality and over-the-top gore for nearly a year, and they weren’t exaggerating that. I’ve solemnly awaited the film’s release to a theater, virtual festival, or streaming platform near me, desperately craving a viewing. I first heard of Rob Jabbaz’s The Sadness when it was chosen as a selection at The Fantasia International Film Festival last August, where it won the New Flesh Award for Best First Feature.
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