They (‘They’ being crazy internet urban legend generators) say that when you die you lose 7 pounds (depending on the exchange rate), and scientists have claimed that this could be attributed to the weight of the soul leaving the body.
I’m not convinced that the soul weighs anything to be honest, but when a person dies, whatever there was that makes them individual and special, vanishes in an instant. The corpse is just the husk that once contained the unique, swirling vortex of idiosyncrasies that form a human being. The biology is just human history, bloated, decomposing, gas passing, hella interesting, human history.
That being said, as much as my body would be disconnected from the ‘me’ part when I kick the bucket, I can’t say I’d recommend donating my body to science as the idea of medical students practicing their art on me and using my fat, grey limbs as part of some supposedly humorous tableau, makes me more than a little uncomfortable for some reason.
Unrest is the story of such a group of students, cutting up cadavers for their Gross Anatomy course, and drawing the lucky rotting straw, of a vengeful serial killer, who isn’t keen on being naked homework for the future condescending doctors of America, and you can’t really blame her. People start dying, and a token pretty blonde girl is the only one who can save the hospital, and possibly the world from vengeance from beyond the grave.
My first problem with this film is that it was widely claimed to be the first film to have used real human corpses, when films like Apocalypse Now, Poltergeist, and Men Behind the Sun (to name a few), all featured genuine skeletons/corpses, and when films have to resort to sensationalism like that in the trailers, it immediately lowers your expectations, especially when their claims aren’t even true.
The film itself isn’t terrible, but it damn sure isn’t good either. Predictable, badly acted, and for a film about autopsies, there isn’t a lot of gore either. Unrest starts off shaky, draws you in with some real potential, then slaps you in the face with a dead limb by spiralling into the absurd and never quite regaining its grip. I was also acutely aware of how very ‘white’ this film was, something that doesn’t normally bother me, but culturally speaking it kept very quiet on the ethnicity front, which is always ironic when watching a film made in one of the biggest melting pots of diversity in the world.
In every sense of the word.