Short

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14 min.

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Killin’ It

Killin' It

Zak and Zur, two post-gender influencers live out their midlife crisis on a fortified farm in the Apocalypse. They are plagued by couple tensions, a zombie pandemic and a couple of dinner guests.

"Killin' it" merges a multitude of significant global issues—from identity politics and revolutions to AI and a zombie pandemic—into a vivid dystopian narrative. It follows Zak and Zur, two post-gender social media influencers in their 30s, living on a fortified farm with Geepee, their household robot. Despite the hardships of decreasing drone deliveries, zombie intrusions, drastic weather and power outages, they decide to host a dinner party to another couple, Jules and Jim. As the party unfolds with jokes, drugs and conspiracy theories, a romantic spark ignites between Zak and Jim. Zur, concealing a zombie bite, turns out to be infected. The zombies breach the compound, overwhelming the guests. Ultimately, only Zak and Jim briefly survive in a safe room before succumbing to the horde. In the aftermath, only AI-driven Geepee remains, using the protagonists' zombified bodies to generate power and autonomously continues producing Zak and Zur's influencer show, “Killin’ it”.

Director’s statement
It seems to me like we are living in the Apocalypse, but nobody is taking it seriously. I would like to translate this sentiment exactly into a dark comedy: Zak and Zur are ‘used’ to the end of the world. In front of the backdrop of global demise, their actual problems are the same as ours: midlife crisis, social media anxiety, body dysmorfia, fear of isolation, etc. This juxtaposition between global outer crisis and petty inner turmoil is what, I think, provides the humor and message of Killin’ it. The end of the world is to be portrayed as petty, banal, a reality media non-event where a humanity composed of influencers will try to entertain themselves and each other to their last drop of blood. To misquote a classic, I might say “the Apocalypse will be televised”. And the way I would like to televise it is by using the strong claire-obscure contrast also present in the themes: a yin-yang of light shining through the darkness, while dark shapes emerge in the open daylight.

Director and Scriptwriter
Balázs Turai

Country of production

Hungary

Target audience

Teens and adults

Animation technique

2D (vector based)

Production company

Boddah

Estimated budget

80 000 EUR

Funding secured

--

Stage of the project

development (existing script)

Looking for

Co-producer, distributor, broadcaster, international sales

Close

CEE Animation is supported by the Creative Europe – MEDIA Programme of the European Union and co-funded by state funds and foundations and professional organisations from the Czech Republic, Hungary, Poland, Slovakia and Slovenia.

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