It's been 23 years since Danny Boyle's groundbreaking 28 Days Later stunned audiences with its post-apocalyptic vision, and the eagerly awaited sequel, 28 Years Later, is poised to deliver. Directed by Boyle with a script from Alex Garland, the film promises to arrive with unmatched intensity, even if it bends the timeline slightly.
While staying true to the raw, visceral aesthetic that redefined zombie horror with its fast-moving "infected" and digital video style, 28 Years Later elevates the stakes with a grander scope. I previewed the film’s opening 30 minutes and spoke with Boyle about his return to the Rage Virus universe.
“We embraced a widescreen format for this film,” Boyle shared with IGN. “It amplifies the tension from the original, where the infected’s speed and ferocity were so unsettling. With widescreen, they could lurk anywhere, forcing you to stay alert, scanning the frame.”
Starring Aaron Taylor-Johnson, Jodie Comer, and Alfie Williams, 28 Years Later balances epic scale with intimate character moments that made the original resonate, while introducing chilling new ways to portray the infected.
From 28 Days to 28 Years Later, Shaped by Brexit’s Shadow
Since 28 Days Later debuted, Boyle and Garland have toyed with ideas for a sequel, having served as executive producers on 2007’s 28 Weeks Later. Boyle recalls a revival screening at the British Film Institute that reignited their passion for the project.
“It hit me how much love the film still gets,” he said with a laugh. “Every time we felt that energy, Alex and I would brainstorm ways to continue the story.”
Initial ideas often fizzled out, as they leaned toward predictable sequel tropes. “Alex wrote a script once, but it felt too familiar—weaponized viruses, shady organizations,” Boyle explained. “We weren’t sold on it. Then we started thinking bigger, not in terms of global spread, but something more contained.”
Instead of expanding the Rage Virus across the world, they chose a more introspective approach, influenced by real-world events like Brexit. “We looked inward, focusing on England,” Boyle said. “Brexit gave us a unique lens to explore isolation and its consequences, reflecting changes since the first film.”
The film opens with an isolated island community, cut off from the infected mainland UK, surviving on its own terms.
“These films are a canvas for reflection,” Boyle noted. “They’re not preachy, but they mirror who we are and what we’ve been through as a society.”
Widescreen Horror: Trading iPhones for a 2.76:1 Epic
The original 28 Days Later stood out for its gritty digital video aesthetic, a hallmark that gave it a raw, almost homemade feel. For the sequel, Boyle and his team drew inspiration from that approach while pushing boundaries.
“We didn’t ignore the original’s influence,” Boyle said. “Back then, we imagined a world where camcorders captured the apocalypse. Today, it’s iPhones.”
Boyle leaned into technical constraints to enhance the horror, using iPhones—sometimes up to 20 at once—for specific sequences. Collaborating with cinematographer Anthony Dod Mantle, who shot the original, Boyle adopted a 2.76:1 widescreen aspect ratio, typically reserved for grand epics, to immerse audiences in the ravaged UK.
Innovative techniques, from actor-mounted cameras to drone rigs and multi-camera setups, created a dynamic experience. “We built rigs for eight, 10, and 20 iPhones,” Boyle said. “There’s a stunning shot in the film’s second half using the 20-camera rig—it’s vivid, shocking, and pulls you into a new world.”
Boyle likened the 20-camera setup to a “budget bullet time,” offering flexibility in lighting and movement, whether mounted on cranes or built into sets. “It gives you 180 degrees of action,” he explained. “In editing, you can choose a single perspective or slice through time, amplifying the violence for a horror film’s impact.”
“I love breaking the rules,” Boyle added. “It puts the audience right in the scene—whether it’s Jodie Comer’s fury or the chaos of an abandoned train with a menacing figure.”
We’ll have to wait for the film to uncover the full mystery of that “naked alpha.”
Blending Heart-Pounding Action with Deep Character Moments
Boyle and Garland’s long collaboration, starting with 2000’s The Beach, has fueled their creative synergy. Garland’s scripts challenge cinematic norms, and 28 Years Later is no exception.
“Alex writes with a physicality that pushes boundaries,” Boyle said. “His ideas demand bold execution, whether he’s directing or I am.”
“This series thrives on action, but it’s always grounded in character,” Boyle continued. “Alex balances the two perfectly.”
Boyle complements this with his focus on cinematic dynamics, using tools like the multi-camera rig to keep actors on edge. “It unsettles even seasoned performers,” he chuckled. “They can’t predict the shot.”
“I’m drawn to stories where the real world collides with the fictional one,” Boyle said. “It’s a scaffolding that holds the narrative together or tears it apart.”
The final film, Boyle promises, will defy expectations. “It’s familiar yet unexpected,” he said. “It’s a bold, challenging chapter we’re proud of.”
