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The premise has been so crushed in recent years that it is impossible not to have a constant dГ©jГ vu to films that, from the four adaptations of вЂI am a LegendвЂ™, have posed a similar scenario. This does not mean, however, that вЂ#VivoвЂ™ does not have its moments of tedium. The greatest contribution of this вЂњapocalypse from the windowвЂќ, however, is that manages to give a good rhythm to an idea that tends to monotony. Another zombie apocalypse from the windowДЇar from a technophobic spiel, вЂ #AliveвЂHe only uses this approach to penetrate the psychology of a disoriented protagonist who realizes himself, as if we were witnessing an experiment with a human guinea pig, that the only thing that he performs in a situation with changed rules is human contact, what Which leads to the second act of the film, when he contacts a survivor in the opposite block. The small reflection offered by the film shows a gamer who soon realizes that his day-to-day activity does not make much sense without a simple connection, evidencing his dependence on an intangible ghost that is the network, so fragile and useless in a situation of collapse as the number of followers in the networks.

Perhaps the greatest point of interest of вЂ #AliveвЂis the approach to the isolation of man surrounded by games, devices and connections that allow or lead him to a life in solitude and without real physical contact.

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Romero He knew how to get far enough from the source and expand, but that ends up returning in films like вЂ #AliveвЂ, which raises Oh-Joon WooвЂ™s odyssey, a youtuber who gets up and discovers that a zombie outbreak has broken out in his city, being isolated, without food or internet signal, but with all the contemporary domestic technological apparatus available. Since вЂI am LegendвЂ™ (I am Legend, 1954), the idea of вЂ‹вЂ‹a man confined while hordes of infected claim his blood abroad has become a trope that George A. The limitation of the premises, however, seems to have come early and the film presents us with an idea too crushed in the survival genre.

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The zombie genre, already so burned in the West, seems to be experiencing an outbreak in Korea, that since вЂ Train to BusanвЂit doesnвЂ™t stop releasing movies likeвЂ™ RampantвЂ(Chang-gwol, 2018) or series likeвЂ™ Kingdom вЂ(2018-) which, likeвЂ™ #AliveвЂhas become very popular around the world thanks to Netflix. The unstoppable emergence of the вЂK-ZombieвЂ™

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The funny thing is that NaynorвЂ™s film has not yet been released вЂ“ the trailer promises the same movie with some additional action scene вЂ“ and the screenwriter has collaborated in the adaptation of his idea with the director Cho Il-hyung for the Korean market, where it has been a box office success, perhaps also partly because Yoo Ah-in and Park Shin Hye They are two stars in the country, something that is also evidenced by how the camera treats them in the film. A production based on the original script вЂ #AloneвЂfrom the Hollywood screenwriter Matt naylor. A Netflix Korean zombie pandemic with dГ©jГ vu a confinamieДЄlthough the long-awaited sequel to вЂTren a BusanвЂ™ (Train to Busan, 2016) has not received the best reviews, the scale of its production and action sequences certify an undead phenomenon in South Korea that is now confirmed with вЂ #AliveвЂ(#Saraitda, 2020) from Netflix, a new example of the subgenre that we could perfectly call вЂњk-zombieвЂќ.

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