Tina Romero's 'Queens of the Dead': A New Vision for the Zombie Genre

Tina Romero, the daughter of the iconic George A. Romero, known as the progenitor of the zombie film genre, is carving out her own niche with her debut film, 'Queens of the Dead.' This queer horror-comedy endeavors to both respect and diverge from her father's legendary work. The film aims to introduce a fresh perspective on the zombie narrative, incorporating vibrant aesthetics, music, and dance while maintaining the underlying political commentary that defined her father's films. Set against the backdrop of Bushwick's queer nightlife, 'Queens of the Dead' explores themes of community and internal conflict within a zombie apocalypse setting, offering a unique blend of horror and social critique.

The film opens with a line that might initially suggest a challenge to George A. Romero's cinematic universe: \"This isn't a George Romero movie!\" delivered by actor and drag queen Julie Jay. However, Tina Romero clarifies that this was not an act of defiance but a tribute to her father's enduring legacy. She expressed a deep sense of pride and responsibility in advancing the 'Romero zombie' into a new era, specifically 2025, while adhering to the established rules and spirit of his original monsters. This deliberate acknowledgment serves to connect her work to the foundational elements of the genre, even as she embarks on her distinct creative path.

George A. Romero's zombie films are celebrated for their sharp political messaging and unforgettable, often gruesome, visuals. This rich cinematic heritage sets a high bar for Tina Romero, compelling her to create something equally impactful yet uniquely her own. While her father's zombies are typically depicted as pale, shambling figures with haunting eyes, Tina's zombies in 'Queens of the Dead' present a stark contrast. They are impeccably dressed, glimmering with glitter, and possess eyes that retain a human quality, a creative choice influenced by budget constraints but also reflective of the film's deeper narrative intention. This aesthetic shift aims to remind viewers of the humanity that once resided within these creatures, highlighting their past lives, particularly their impeccable fashion sense as denizens of Bushwick's queer nightlife scene.

Romero’s desire to infuse her personal vision into the genre is evident in these aesthetic distinctions. She describes herself as an optimist and intentionally set out to introduce her voice as a filmmaker, emphasizing that her movie is fundamentally different from anything her father would have created. She saw an opportunity to engage with the zombie genre in a way that resonated with her personal interests: dance, music, and elaborate costumes. These elements, she explains, are central to her identity as a filmmaker, allowing her to attract audiences through the appeal of zombies while simultaneously showcasing her unique artistic sensibilities.

Carrying forward the thematic torch lit by her father, who used zombies to critique consumerism, racism, and classism, Tina Romero embraces her own form of political commentary. While her father's narratives often focused on societal decay, Tina's film delves into the queer community's internal struggles and conflicts. The genesis of this idea came from an online discussion within the queer nightlife scene, where a promoter questioned why the community often seemed to \"devour its own.\" This observation became the catalyst for using queer nightlife as a lens to explore a zombie apocalypse, integrating a specific, yet powerful, political message that aligns with the spirit of her father’s definitive works. Ultimately, Tina Romero concludes that her film embodies her father's spirit, making it a \"Romero movie,\" but distinctly \"not a George Romero movie,\" thus establishing its unique place within the legacy.