“Thursday’s Widows” (2008) follows the deaths of three seemingly wealthy men, pretending to live perfect lives, ‘detached’ from Argentina’s social and economic realities. We rarely catch a glimpse of what is truly going on outside the gated and exclusive residential zone. Yet, through news clips and quick shots contrasting the slums and wealthy zones of the city, we know of the apocalyptic nature in which Argentina finds itself. People are fighting for food, suffering gas shortages, and unable to access their money from the banks. Meanwhile, in refuge within their community, the wealthy Argentinians mockingly say, “what would we do without our credit cards.”

An obvious social critique, the film has a zombie apocalyptic feel to it, a theme commonly used to reflect social anxieties through science fiction means. This technique is reminiscent of Night of the Living Dead (1968) by George Romero and his sequels, which are critiques of racial relations and capitalism. Although “Thursday’s Widows” does not actually feature zombies, there is an “us” vs “them” theme, from how they treat their house workers to how they look at the outside, scared that the images they see on the television will affect their perfect, “safe haven” and “detached-from-reality” bubble. What they do not realize until Ronnie tells the wives the truth about their husbands’ deaths, is that it is too late, the effects of the economic virus floating in Argentina has already infected them. No matter their isolation, they have already turned into zombies. Which, in a way, might have been what they wanted, as the three women affected are the ones who seemed to desire it the most. Gustavo and Carla, a problematic couple from the ‘outside,’ Martin’s harsh economic standing, which resembles the situation most of ‘outside’ Argentina is living, and Tano’s depression, which is an ‘outside’ feeling due to the economic context, are how the ‘virus’ begins to develop, resulting in their deaths, except for Carla who was innocent in the story. By the last scene, the community has turned into zombies after the husbands’ deaths. As Ronnie’s family leaves, the final stage perfectly sets their escape from repeating the same mistakes. As their car leaves the infected area, a seemingly safe space, gates, barbwire, and security guards are shown. Yet, it is just as dead on the inside, as the ‘outside.’ At some point, Lala says something like: “what if they [working-class Argentinians] come to the gates and try to enter.” Again, utilizing zombie imagery of them trying to infiltrate the community as if it had not already happened on its own. Furthermore, the three husbands who die are also the most corrupt ones, who work for foreigners and exploit their fellow nationals, which partially fuels the economic crisis—coming full circle, and referring to the karma which Ronnie makes a note of at the beginning of the movie. At last, the only ones who “make it out alive” and are to find refuge away from the infected zone are those who can still trust and love each other. As in a zombie apocalypse, you need trust to make it out alive.