
The End?
2017
No Poster Available
2014
Director
David Freyne
Runtime
7 minutes
Average Rating
No ratings yetSynopsis
Following the outbreak of an aggressive virus, a young woman awakes in a hospital bed. As the horrifying events that led her there are revealed, it becomes clear that the cure is just the beginning. This short film is a prequel for the feature film, The Third Wave, which was written at the Binger FilmLab 2012. The project also won the Best Story Pitch award at the Edinburgh Film Festival, June 2012.
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film lacks explicit LGBTQ+ characters or narratives addressing queer identity. The focus remains strictly on the survivalist mechanics of a viral outbreak.
Gender Representation
A young woman serves as the primary protagonist navigating the crisis. This placement disrupts traditional male-dominated horror tropes by providing a female lead with central agency.
Racial & Ethnic Diversity
The cast and character compositions are not specified. Without details on non-white representation, the film appears to follow standard genre casting conventions.
Religious & Cultural Diversity
The narrative utilizes an outbreak trope that hints at skepticism toward medical or governmental institutions. However, it lacks a dedicated anti-institutional or cultural stance.
Disability Representation
The protagonist begins in a hospital bed, suggesting physical vulnerability. It is unclear if disability is portrayed with agency or used as a horror plot device.
Strengths
Areas for Improvement
AI Analysis
The film operates primarily as a genre-driven survival horror. While it avoids some traditional tropes by centering a female protagonist, it lacks a broader commitment to intersectional representation. Representation is limited by the narrow focus on a viral outbreak. The narrative architecture prioritizes survivalist mechanics over the exploration of diverse social identities or complex cultural hierarchies. Ultimately, the work provides a neutral baseline for diversity. It offers some gendered agency but does not actively engage with queer, racial, or disability-focused narratives.

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