A new documentary titled *Black Zombie* explores the origins and cultural misrepresentation of zombies, tracing their roots to Haitian spiritual tradition rather than the Hollywood horror genre. Directed by Maya Annik Bedward, the film premiered earlier this year at South by Southwest (SXSW) and seeks to correct longstanding misconceptions by centering Haitian voices and histories that have often been obscured or distorted.
Zombies, as popularly known, were popularized by American media beginning with the 1932 film *White Zombie*, but their genesis lies in Haitian Vodou practices. The documentary highlights how zombies originally symbolized the traumatic experience of slavery, forced labor, and the severing of connections to home and identity. In Haitian lore, a zombie represents a person whose spirit is trapped and unable to find peace even after death. The film describes how this spiritual concept is closely linked to the use of salt, which in Vodou tradition can free a captive soul, but was historically denied to Haitians by colonial authorities.
*Black Zombie* examines how early 20th-century American writer William Seabrook’s 1929 book *The Magic Island* initiated a wave of cultural extraction and distortion by introducing the term “zombie” to English readers. Seabrook’s sensationalist and racially biased portrayal paved the way for Hollywood’s commodification of the zombie as a mindless monster, a narrative that effectively erased its origins and reduced Vodou—a complex and spiritual practice—to a backdrop for horror and fear. The documentary features insights from experts including author and professor Tamaranive Due, special effects artist Tom Savini, filmmaker Zandashé Brown, and Haitian vodou priest and artist Erol Josué.
The film also critiques the ongoing legacy of colonialism and cultural appropriation, showing how Haitian culture has been repeatedly misrepresented and exploited. It notes that Vodou has been commercialized into kitsch in places like New Orleans, stripping it of its spiritual and historical significance. The documentary further ties this cultural distortion to contemporary political contexts, such as the 2024 false claims made by former President Donald Trump about Haitian migrants, which have fueled discriminatory policies and deportations. It highlights the resilience of the Haitian community, demonstrating continued efforts to contest these narratives, including protests like Brooklyn’s West Indian Day parade advocating for Haitian immigrants’ rights.
Production of *Black Zombie* took a decade, with filming completed partially in the Dominican Republic due to political instability and violence following the assassination of Haitian president Jovenel Moïse in 2021. Bedward reflects on the challenges faced by her Haitian crew and actors, many of whom have fled the country for safety, underscoring the enduring effects of political turmoil on Haiti’s cultural preservation.
By reclaiming the narrative surrounding zombies, *Black Zombie* attempts to restore a nuanced understanding of Haitian history and spirituality, shedding light on the broader implications of cultural erasure and the violence wrought through distorted memory. The film is scheduled for release in the United States on September 11, with later rollouts planned for the United Kingdom and Australia.