Danny Boyle and Jodie Comer on Covid, horror and the real-world rage virus

28 days later, when he hit the screens in 2002, Cillian Murphy revealed a new sense of terror because London stumbled around the creepy streets and earth signs.

In March 2020, when the Covid spandon turned the capital into a ghost town, the nightmare of dystopia became a reality. Murphy’s character Oxford Street’s “missing” posters, today, today to commemorate 200,000 England Dead in front of the parliament’s monument wall stands.

The original director Danny Boyle and the writer Alex Garland returned to their world -filled worlds after 28 years.

Speaking with the BBC News, Boyle says that for the audience, a sudden transformation that threatens even without zombies intensifies terrorism, because “now it feels more possible”, which we used to only belong to movies.

However, we adapted to Covid and learned to live within the boundaries of an undecided, vulnerable reality, which he said was the center of the new film.

In this last episode, the victims of the “infected” – laboratory leaking anger virus, which showed that Juan Carlos Fresnadillo reached Europe after 2007, was pushed back and closer to the British coast.

As the rest of the world healed, England’s survivors were left to defend them for themselves.

These include his father Jamie (Aaron Taylor-Johnson) and a 12-year-old spike (Alfie Williams) living with Isla (Jodie Comer) on the holy island on the north-east coast of England. He is known in this 150 strong shelters, a feudal life that is connected to a single, severe defended passage that can only be reached in a low tidal motherland in the quarantine.

Now the gap between adults and children is not only a generation, but among those who remember the pre-life pre-life and those born after the virus. The attitude of need sees that Jamie has received the Spike on a passage hunting ritual in the mainland for the 12th birthday.

Just as humanity adapted, it seems to have been infected that is now more developed. Some have been scanning, others have become alphabets and lead to fast -running packages. The anger virus looks like that, never silent – grew.

“Gradually, you start to take more risks – you start to discover how far you can go and still stay safe,” he says of the film’s Covid parallels. “28 days after the infection, this is unimaginable. But 28 years after infection, they are the types of risk they receive.”

Boyle says that the decision of having a young lead character is not only for “love innocence”, but also to discover that adults have chosen to tell and hide from them to continue.

Emotional tension is something Comer can establish a relationship on the screen and outside the screen.

Speaking to me next to Boyle, he says, “I felt with my own parents.” “When they try to protect me from something, when they think it’s better not to worry about me. But there are moments I think, I really wish to share with me because I may have done something different … or I spent more time with someone. But in the end, love comes from a place of love.”

The character is a feature shared by ISLA. The Isla, which emerged as a mother, is clearly sick, but still trying to look at it desperately, even in clarity and shifting out of it – apparently destroyed for decades under siege. But the truth is more complex.

Comer is not alien to crisis stories. He played the mother of a newborn mother We finally start.And a care home nurse for Covid Drama aid! However, 28 years later, he points to the first depiction of someone in the depths of life after the apocalypse.

It is also faced with zombies for the first time. So what is it like to be chased by infected ones? “Exciting,” he replied.

The scenes grounded the brave realism of the film. “Infected” actors sometimes have not used cgi or green screens in the make -up chair.

“These artists don’t speed up,” he says, laughing. “There are moments that feel incredibly increasing – you are breathtaking, you face hysteria elements – but bright.”

Isla goes to the windows of coolness without weakening: it helps to see one of those infected with the sensitivity of muscle memory that takes a look at a baby’s past.

Comer confesses that Isla’s awareness is the most difficult aspect of the role of visiting in emotional “EBBS and Flows”.

From Trainspotting to Oscar -winning Slumdog Millionaire, Boyle’s films have always explored social facts. Therefore, the subtleties of Isla’s relationship with the spike are important, because the child helps the director to understand that there is more life than what he calls “aggressive masculinity”.

“There are different ways of progress,” he says. “And he learns that, I think he can step into the better armed world than the springs and arrows give him.”

Comer adds: “He and his curiosity have an essence of hope.”

After 28 years, the investigations were largely positive.

Telegraph’s chief film critic Robbie Collins gave the sequel “in a triple way badly, cunningly postponed”. Defining Boyle’s Best Film of Years.

The Times’ Ed Potton Five stars were also awardedHe called the “probably the best” introduction in the series and praised the “always impressive” tradition.

But ambition did not work for everyone. Independent’s Clarisse LoughreyIn a three -star examination, “interesting”, the film sometimes felt like “stuck in the head again by Metaphore Hammer”.

Guardian critic Peter Bradshaw, Also giving three starsI found “tone as uncertain”.

Boyle sees this film as the first of the trilogy, and the spike potentially emerges in all three.

The second film, which was shot by the director Nia Dacosta, will be released next year with the writing of Garland Again. Boyle, Green Light plans to return for the third film.

When I asked Boyle Boyle why he returned to fear so ambitiously, as the director of many species, he argues that the zombie pressure was encouraged by an emergency political inadequate current, with the last US TV adaptation that dominates the Zeitgeist.

In addition to the SPICE’s humanitarian lessons, Boyle, the island is not progressive, not constantly … Britain returns to Halcyon days and emphasizes a stagnant culture.

The director describes the island’s feudal lifestyle in a deceptive way as a deceptive but ultimately declining – something Spike has noticed.

It reflects today’s political climate and dangers for Boyle. “I think it’s good to put this in a horror movie, or he says. “Because I think it will take us to fear – and we know it will happen. We can see that it is even going to be around us. Fear is a great species for this and one of the reasons why it is so popular.”

Boyle, with a lot of real conflicts around the world, horror films, as we know, nurtures the feeling that “great change can be in the corner” in the world.

Original 28 days later, the anger virus was developed by forcing chimpanzees to watch graphic video images.

I ask Boyle whether it is parallel to the real -life rise of social media with its personal algorithm designed to reward the polarization and anger.

“We encourage them to communicate through these things,” he answers his phone quickly. “They are incredibly strong – and can be easily manipulated. But they pass us [the screen] To talk to each other. “

In contrast, he says, “Sinexal, but something surprising about cinema” and other collective human experiences.

The important thing is the authentic connection of cinema – sharing something that is not related to it, indicates your phone.

“Very fragile, but very important and we have to hang out as much as possible.”

28 years later, about the audiences who face terrorism as much as fear itself – real or imagined. Twenty years later, we know very well how they can be blurry.