Just as the audience settles in for a metaphorical treatment of Caribbean exploitation, Bonello jumps ahead to an all-girls school in present-day France, where descendants of former graduates are expected to matriculate into the ranks of the country’s elite. Until then, however, they behave like typical teenagers.
“Zombi Child” excels whenever Bonello and his cinematographer, Yves Cape, give themselves over to exotic ritual and mesmeric imagery, which mostly favors the scenes set in Haiti. The film isn’t obligated to demythologize the Clairvius Narcisse story so it does the opposite, fully investing in the notion that he moaned and stumbled through the island’s streets and sugarcane fields, caught in a strange, nightmarish purgatory between the living and the dead.
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