By Josiah Rodriguez
*This Article Contains Mild Spoilers for: 28 Years Later & 28 Years Later: The Bone Temple*
“There are so many dead. Infected and non-infected alike. Because they are alike. Every skull is a set of thoughts. These sockets saw, and these jaws spoke and swallowed. This is a monument to them. A temple.”
–Dr. Ian Kelson, 28 Years Later
–Dr. Ian Kelson, 28 Years Later
The 28 Days franchise is a revitalization of the zombie film. Starting with 2002’s 28 Days Later, these movies launched from a collaboration between director Danny Boyle (Trainspotting, Slumdog Millionaire) and writer Alex Garland (Ex Machina, Civil War), following a zombie outbreak in Britain across a span of different time periods. No longer were there the ghoulish undead of George Romero classics, but instead a faster, zanier, and angrier form of zombies crafted from a widespread disease classified as the Infected. With the 28 Days franchise, this threat was more than just a slowly approaching mob; it was an escalation of full-blown chaos sourced in contemporary anxieties about pandemics and terrorism, captured in an unsheathed, disgusting grit that became a signature look for the series as a whole. The first film alone rebirthed this subgenre that had not been thriving since the 1980s, allowing for a reignition towards these iconic creatures that ushered in a new era of zombie hits throughout the 21st century, from popular TV shows like The Walking Dead (AMC, 2010-22) and The Last of Us (HBO, 2023-), to fantastic movies like Shaun of the Dead (Edgar Wright, 2004) and Train to Busan (Yeon Sang-ho, 2016). 28 Days Later brought something fresh and exciting to the genre, and while there was a long gap between the franchise’s installments, Boyle and Garland eventually reteamed to create a follow-up trilogy for the series, starting with 2025’s 28 Years Later.
From the distinct personality started by Boyle, this 2025 release acted both as an homage to this original aesthetic, but also an evolution of where Boyle left off in the filmmaking decisions. 28 Years Later doubled down on the wild tones, murky footage, and extreme nature of the Infected, using experimental techniques to shape a horror film not only epic and immersive in scale, but also intimate and humane. In short, the movie was bonkers mad, managing to not only explore rich themes of death and human worth, but appearing as though it was ripped out of a mash-up of Power Rangers (Hasbro, 1993-) and Baz Luhrmann through its flashy cuts and sound mixes. While many powerful factors come into play in these results, one of the primary sources for this stems from the cinematography itself.
From the distinct personality started by Boyle, this 2025 release acted both as an homage to this original aesthetic, but also an evolution of where Boyle left off in the filmmaking decisions. 28 Years Later doubled down on the wild tones, murky footage, and extreme nature of the Infected, using experimental techniques to shape a horror film not only epic and immersive in scale, but also intimate and humane. In short, the movie was bonkers mad, managing to not only explore rich themes of death and human worth, but appearing as though it was ripped out of a mash-up of Power Rangers (Hasbro, 1993-) and Baz Luhrmann through its flashy cuts and sound mixes. While many powerful factors come into play in these results, one of the primary sources for this stems from the cinematography itself.
28 Years Later was shot on an iPhone. Yes, the cellular device that you, the reader, might have in your hand or nestled in your pocket was used to create a Hollywood horror blockbuster. On one end, this might sound baffling, for in a world where major studios have access to outstanding camera sources from REDs to IMAX, the choice to design a film of such a scale on such a device might be seen as trivial, cheap, or flat-out ignorant. Yet through this approach, the camera can capture an essence unlike any other, creating an apocalypse that isn’t just cinematically manufactured but a true, unfolding hellscape, witnessed through our common tiny screens. That being said, what Boyle directs with this feature utilizes this grounded approach and maximizes it.
Even with the use of an iPhone (iPhone 15 Pro Max in particular), this isn’t as simple as hitting a record button and making the movie; throughout the filmmaking process, they used this device and applied it with a plethora of accessories. From large stacks of lenses to creating packed semi-circle rigs, the production of 28 Years Later radicalized the basic traits of an iPhone and pushed it to its limits. In particular, the action sequences often use gimbals, drones, and stabilizers with these modified devices, guiding us along flying arrows and nauseating spurts to further draw us into this out-of-reach nightmare. The outcome? Visuals that are transcendent. Taking the pristine gloss of the main source, the cinematography distorts it into a dreamy haze over our textured domain, where our grasp on realism is just out of reach yet still tangible to the touch. This is furthered by editor Jon Harris (Snatch, 127 Hours), who takes these already striking images and cuts them into a fast, frenetic rush of montage, matching the heart-palpitating madness of the subject matter in a distinct cinematic language. His experience with fast-paced editing goes into overdrive in 28 Years Later, outcoming a berserk creation that acts as more than just an engaging story but also a viscerally raw experience.
Even with the use of an iPhone (iPhone 15 Pro Max in particular), this isn’t as simple as hitting a record button and making the movie; throughout the filmmaking process, they used this device and applied it with a plethora of accessories. From large stacks of lenses to creating packed semi-circle rigs, the production of 28 Years Later radicalized the basic traits of an iPhone and pushed it to its limits. In particular, the action sequences often use gimbals, drones, and stabilizers with these modified devices, guiding us along flying arrows and nauseating spurts to further draw us into this out-of-reach nightmare. The outcome? Visuals that are transcendent. Taking the pristine gloss of the main source, the cinematography distorts it into a dreamy haze over our textured domain, where our grasp on realism is just out of reach yet still tangible to the touch. This is furthered by editor Jon Harris (Snatch, 127 Hours), who takes these already striking images and cuts them into a fast, frenetic rush of montage, matching the heart-palpitating madness of the subject matter in a distinct cinematic language. His experience with fast-paced editing goes into overdrive in 28 Years Later, outcoming a berserk creation that acts as more than just an engaging story but also a viscerally raw experience.
The franchise is no stranger to unorthodox forms of shooting, however. With the first installment of 28 Days Later, one of the signature ways it set its dark, punkish attitude stemmed from its choice of shooting on a Canon camcorder, giving the entirety of the film a grainy perspective that stripped the movie of a traditional cinematic appearance and left it alone in the chaos of the apocalypse. Here, the same battered existence of that world is realized in a grounded path, showing the fast aftermath of disaster and pain in an almost archival fashion. It was this landmark that sparked up a new zombie craze for the 21st century, and while many have attempted to replicate the energy of 28 Days Later, what really continued to push this style further was the franchise itself.
In 28 Years Later, we witness an homage to this original aesthetic in its personality, yet through the iPhone we can also witness a creative reflection of the film’s core. Through the use of iPhone cinematography, this process alone reflects the thematic ideals of this new trilogy, using a taken-for-granted item of modern life and showcasing how much more it can conceive despite its reputation. The concept of a zombie itself is intriguing: it takes the intelligent, soulful, and unique nature of a human and dehumanizes it into a mindless creature, no longer capable of conscious thought, but only a meandering carnal drive. It is this classic “monster” that has flooded cinema for decades, and while the 28 Days franchise has presented characters who succumb into this infected presence, once in this state they are nothing more than a beastly force, an obstacle for the characters to overcome and no longer a substantial, multi-faceted being. With 28 Years Later however, we see a twist on this concept through the character of Dr. Kelson, a survivor who doesn’t view the infected as monsters, but instead victims, as humans robbed of their life and in need of salvation and peace.
In 28 Years Later, we witness an homage to this original aesthetic in its personality, yet through the iPhone we can also witness a creative reflection of the film’s core. Through the use of iPhone cinematography, this process alone reflects the thematic ideals of this new trilogy, using a taken-for-granted item of modern life and showcasing how much more it can conceive despite its reputation. The concept of a zombie itself is intriguing: it takes the intelligent, soulful, and unique nature of a human and dehumanizes it into a mindless creature, no longer capable of conscious thought, but only a meandering carnal drive. It is this classic “monster” that has flooded cinema for decades, and while the 28 Days franchise has presented characters who succumb into this infected presence, once in this state they are nothing more than a beastly force, an obstacle for the characters to overcome and no longer a substantial, multi-faceted being. With 28 Years Later however, we see a twist on this concept through the character of Dr. Kelson, a survivor who doesn’t view the infected as monsters, but instead victims, as humans robbed of their life and in need of salvation and peace.
In his work, he creates grave sites dedicated to the casualties of the apocalypse, both regular and zombie alike, purifying their bodies and extracting their skulls to build massive testaments in the name of “Memento Mori,” the classic Latin saying of “remember you will die.” While cynical on paper, this maxim is one of sorrow in Kelson’s view. From his perspective, it’s a somber testament to the circle of life and to how, even in the face of an unnatural wasteland, we are still purposeful, layered creatures worthy of respect for one another, both in life and in death. In this action, the film produces an expressive subversion of how we view the threats of horror alongside mirroring the recognition of artistry found in the iPhone’s usage, creating a piece that comments on the innate purpose and potential of all. Here, the gamble of shooting on this device pays off not just for its look, but also for its subtext, making a statement about the value of its identity. However, there is still the flip side to this cinematography. Even with its deeper levels of beauty, the final appearance is still that of an unnatural disfigurement, matching the rage that these fallen men tussle with relentlessly. Nevertheless, this sets the stage for where the latest installment of the franchise leads.
In the latest of the series, 28 Years Later: The Bone Temple, we see new director Nia DeCosta (Candyman, Hedda) uses the film to explore the worth of humanity poignantly, yet also in a new style that strips away the iPhone cinematography and instead shoots on an ARRI ALEXA camera, a more traditional piece of equipment found in a plethora of Hollywood films. While the sequel shares a similar visual aesthetic with its predecessor, its new craftsmanship seeks to present the world in a new light, focusing on a gentler, healing growth rather than the ravaging yet intimate pain we encounter. Danny Boyle’s iPhone artistry was a nuanced perspective that not only reinvented what came before but also birthed an unorthodox vision that was experimentally brilliant to experience. By choosing to use more common technology, DeCosta allows this sequel’s ideas to be just as compact and cinematically presented as those in the previous chapters.
In the latest of the series, 28 Years Later: The Bone Temple, we see new director Nia DeCosta (Candyman, Hedda) uses the film to explore the worth of humanity poignantly, yet also in a new style that strips away the iPhone cinematography and instead shoots on an ARRI ALEXA camera, a more traditional piece of equipment found in a plethora of Hollywood films. While the sequel shares a similar visual aesthetic with its predecessor, its new craftsmanship seeks to present the world in a new light, focusing on a gentler, healing growth rather than the ravaging yet intimate pain we encounter. Danny Boyle’s iPhone artistry was a nuanced perspective that not only reinvented what came before but also birthed an unorthodox vision that was experimentally brilliant to experience. By choosing to use more common technology, DeCosta allows this sequel’s ideas to be just as compact and cinematically presented as those in the previous chapters.
In 28 Years Later: The Bone Temple, we watch as Kelson deepens his perspective, deciding not only to show respect for the victims of this new world but also to nurture them in a new way. Building an unlikely friendship with Samson, an Alpha zombie, Kelson attempts to cure him of his zombification, and as the film progresses, we witness something new for the series. By moving beyond the eccentric iPhone cinematography, we can experience the subtext of Samson’s growth through a contemplative approach to healing rather than the non-stop adrenaline-pumped tension of before, showing an underlying humanity and return to consciousness. 28 Years Later: The Bone Temple, offers a more meditative insight as we leave this unnatural distortion, drawing away from the surreal madness and returning to the normal. With these camera choices, the film does not abandon the worth of humanity, but strengthens it, leading to a work that takes us back to the joys that life can bring.
The 28 Days franchise is a fascinating series, constantly evolving in its form while thoroughly showcasing the brokenness of our species and our world through the lens of a zombie outbreak. By constantly growing and reinventing itself with each new installment, these films act as outstanding achievements, creating a powerful tapestry on the nature and worth of the human species.
The 28 Days franchise is a fascinating series, constantly evolving in its form while thoroughly showcasing the brokenness of our species and our world through the lens of a zombie outbreak. By constantly growing and reinventing itself with each new installment, these films act as outstanding achievements, creating a powerful tapestry on the nature and worth of the human species.
