In the opening scene, a female Angel of Death, Angel, engages in a charged encounter with a mortal woman, and the aftermath appears to ripple through existence: humans stop dying, and those who are already dead rise again as disoriented, wandering vagabonds.
Seventeen months later, the story follows a wary survivor named Susan as she trudges through a largely abandoned town on foot, having just bought food and armed herself heavily to keep the undead at bay. The undead she encounters are often desperate and a little puzzled, begging for money or other small pleasantries, while one disfigured figure clings to life in a troubling, almost servile way. When a zombie tries to siphon gas from her car, she wastes no time; she hunts the thief down, blasts the fuel source, and watches the carcass of the attempt burst into flames. After this brutal encounter, Susan returns to her car and continues her journey away from the decaying town.
Her escape takes a turn on a country road when the car sputters and dies. She finds herself surrounded by a roving religious cult of the undead, led by a preacher who claims the car for the service of the Lord, refills the tank, and then drives off with it. The encounter is jarring, a stark reminder of the strange new order that governs this world.
Moving on, Susan travels on foot for a while longer and, finding another undead vehicle, steals it and presses on toward a new destination. In a distant town, living residents point her toward a safe house where she can rest for the night. There, she encounters Mary, a dead woman who is pretending to be alive, and the two share a shower together. As they open up to one another, Susan begins to trust Mary after Mary explains how she died—she took her own life to stay young and beautiful forever. The moment feels intimate and fragile, a hint of the strange tenderness that persists amid a world where death has become unreliable.
That same night, the house is overrun by militant, fanatical zombies who murder every living person inside, including the landlady, who collapses into the bathroom to nurse her stillborn fetus in the shower. In the chaos, Susan accidentally shoots Mary in the head, cutting short the fragile connection she had begun to form.
Susan runs for safety and comes face to face with the preacher who had stolen her car earlier. He tries to persuade her that death might be preferable to life, suggesting that the “old generation” of humanity is ending. She tests his supposed breath with a pocket mirror, confirms that he is indeed alive, and shoots him in the head, reclaiming her car and fleeing once more.
Her escape leads her back to the apartment she shares with Dan, her boyfriend. There she discovers that he had already killed himself—slashing his wrists in the bathtub. He shows a troubling, calculated tenderness by pouring her a glass of milk, but covertly adds poison to it. They have sex—in a dark, surreal moment, she uses his pistol as a strap-on since he is dead and cannot perform in the usual way. Afterward, he reveals the poisoning, arguing that she will be young and beautiful forever once she succumbs. In a desperate bid to preserve her looks, she threatens to shoot herself to ruin her beauty and even tries to spit the poison back up, but Dan stops her. In a final act of grim resolve, Susan shoots Dan in the head and he topples out the apartment window to his death.
Meanwhile, the now-undead preacher, having survived the fall by fashioning wooden splints to walk, crosses paths with Dan’s body and stumbles onward, driven by the same hunger and determination that haunt the city’s streets. The preacher’s battered form hints at a persistence that can outlast a life as easily as it outlasts a death.
As the story threads toward its end, Susan awakens to a terrifying realization: she herself is dead. She rises, takes water from a dripping faucet to moisten her lifeless eyes, and surveys the world with a cold, strange calm. The foreboding sounds of Dan’s pleas mix with the echo of the preacher’s rattle of bones as the film cuts away, leaving the fate of Susan—and of the world she inhabits—unclear and unsettling. The film closes on this stark, abrupt note, a haunting meditation on beauty, mortality, and the uneasy boundary between life and what comes after.
