MUERTAS VIVAS (Dead Woman Walking) Poster Premiere: Chilean Splatter Horror Comedy Heads to Sitges

“MUERTAS VIVAS” (Dead Woman Walking) will have its world premiere at the Sitges Film Festival.

 

The zombie comedy “Muertas Vivas” by Chilean director Sandra Arriagada (“Apps”) will have its world premiere at the Sitges Film Festival in Spain.

 

 

 

The film is a production by Expat Films, Muvi Rental, Mastodonte, Fascinante Films, and Vakero Producciones, which tells the story of three models who, while filming a commercial, must face a zombie apocalypse and defend themselves.

 

The film stars Belén Mora, Clara Kovacic, Camila Recabarren, Benjamín Castillo, Koke Santa Ana, Tutú Vidaurre, among others.

 

For its director, Sandra Arriagada, the film is "a zomcom that satirizes the misuse of feminism. Today we see how a discourse that was born to help us among ourselves has ended up becoming a profitable and exploitable slogan. As Rosalind Gill says, when feminism is reduced to an advertising label, it ceases to be praxis and becomes cultural merchandise. In the film, zombification is just that: the nullification of critical thinking in the name of a false sisterhood and perhaps a return to dividing the world not into genders but into good and bad individuals, because what defines dehumanization is and always will be evil."

 

With Lucio A. Rojas, Christian Bunger, and the director herself as executive producers, the film aims to be entertaining for all viewers, with lots of action, splatter, and excessive situations, but behind its seemingly simple content, it maintains a critique of certain social situations seen in recent times.

 

In the words of Sandra Arriagada, "Muertas Vivas satirizes the advertising world and questions the notion of sisterhood as a homogeneous block. I also believed in that romantic vision for a long time, but since the pandemic, I have noticed how the powerful themselves—men and women—have begun to exploit the feminist cause for political and commercial interests rather than emancipatory ones. As Hannah Arendt warns in The Origins of Totalitarianism (1951), when the group becomes absolute, the individual dissolves, loses their critical thinking and with it their freedom of expression. I experienced this firsthand, with the consequences of daring to denounce it at a time when almost no one was talking about it. I am also interested in exploring cruelty among women, which can sometimes be even more ferocious, as it stems from competition, envy, and what the Germans call Schadenfreude: the enjoyment of others' pain. 

 

After its premiere in Sitges, it will continue its festival run during the first half of next year before moving to streaming platforms in the second half of 2026.