Movies

The 25 Best Zombie Movies of All Time

BBG News

Fittingly, just like the undying zombies themselves, it seems zombie films refuse to die. The most recent instance of this enduring horror subcategory making its way onto the big screen is titled “28 Years Later“. Although not precisely 28 years since “28 Days Later“, it’s nearly so, and serves as a long-anticipated sequel to one of the renowned zombie film franchises. Remarkably, this movie is considered among the rare ones that transformed the subgenre—a testament to its impact when you consider how frequently the undead have been reimagined on screen.

As a die-hard film enthusiast, I’ve always pondered why zombie movies continue to captivate audiences across generations. The underlying themes are undeniably powerful. Zombies force us to confront our deepest, primal fear – death – in a strikingly literal and gut-wrenching manner. They serve as metaphors for pandemics and societal turmoil, provoking both terror and amusement with their gruesome, exaggerated antics.

Given this, it’s no surprise that many zombie films are comedies – there’s something cathartic about laughing in the face of decay and mortality. Moreover, the low production costs associated with these films likely contribute to their enduring popularity. To create a DIY zombie movie, all you really need is some makeup and fake blood, which a group of friends with a camera can easily pull off without breaking the bank.

Amongst a multitude of inexpensive and unmemorable zombie films, these 25 stand out – regardless of their budgets ranging from thousands to millions. These movies not only excel in quality but also significantly contribute to the evolution of zombie cinema. The journey begins with black-and-white productions that portray the voodoo zombies rooted in Haitian folklore, marking a significant milestone in the genre’s history.

The original concept of a ‘zombie’ raises an unexpected conundrum about what qualifies as a zombie film. It can’t simply be any undead creature – spirits lack bodies, and it isn’t always clear if demons from hell were once humans or just malevolent entities. In essence, films featuring mummies or Frankenstein adaptations might fit the bill for zombie movies, but they seem distinct. Does a zombie have to stem from a viral infection, or could magic be responsible for reanimating the deceased? Are the undead required to actually be dead, or can they merely be infected with a virus that transforms them into mindless cannibals? The definition of a zombie film is not black and white; you’ve got to rely on your instincts – recognizing a zombie when you see one, and aiming for the head.

White Zombie (1932)

The film “White Zombie,” released in the past, is often considered the first zombie movie despite earlier appearances of walking dead in films like a silent version of “Frankenstein” or the 1919 French film “J’accuse.” However, “White Zombie” significantly influenced the development of many zombie movie tropes. The film was based on an American occultist’s 1929 book about an old Haitian form of punishment, where people were drugged, buried alive, and then controlled in a confused state upon resurrection. Critics have noted that “White Zombie” portrays Haitians in an offensive and racially insensitive manner, reflective of its time period.

In the grip of the sinister voodoo sorcerer “Murder” Legendre, portrayed by Bela Lugosi, numerous Haitians, transformed into zombies, shamble around with empty, lifeless gazes, obeying his commands without question. The 1932 film “White Zombie” doesn’t feature the cannibalistic or rapidly spreading traits of later zombies, but its portrayal of the living dead certainly laid groundwork for subsequent depictions. On its own merits, “White Zombie,” followed by “Revolt of the Zombies,” can occasionally feel somewhat sluggish, a characteristic typical of early 1930s horror films as the genre’s cinematic language was being refined. However, at its finest, “White Zombie” converts this slowness into something akin to a haunting dream, with its unsettling qualities gradually and inescapably taking hold.

I Walked With a Zombie (1943)

In contrast to the traditional zombies rooted in Caribbean folklore, which eventually lost popularity, the concept of the walking dead continued to be associated with tropical islands and was occasionally revisited, such as in Wes Craven’s 1998 movie “The Serpent and the Rainbow.” Nevertheless, the quintessential traditional zombie film remains “I Walked With a Zombie,” directed by Jacques Tourneur. This Gothic narrative revolves around a wealthy Jamaican family, their hidden mysteries, an innocent nurse, and a mysterious, unwell wife. The film, set in Jamaica rather than the English moors, is a spine-tingling story marked by truly unsettling visuals, such as the eerie, motionless zombie-like guard at Carrefour, portrayed by actor Darby Jones with his wide, glassy eyes. Moreover, it stands out as one of the pioneering examples of using zombies to delve into societal issues. It’s quite remarkable how seriously and sensitively this horror-drama addresses themes like the legacy of slavery, racism, and African diaspora religions, including voodoo, even though its portrayal of race—including the central role of a white woman who is more of a tourist than an integral part of this intricate Black tradition—has been criticized.

Night of the Living Dead (1968)

Without a doubt, George A. Romero’s groundbreaking independent horror film “Night of the Living Dead” stands out as one of the most impactful and chilling zombie movies ever created. This low-budget masterpiece revolutionized the concept of zombies, transforming them from folklore creatures controlled by a master into uncontrollable, flesh-eating monsters that pose a threat not only to the living but also to society itself. The film was shot in an abandoned farmhouse near Pittsburgh and features hordes of “ghouls” rising from their graves to feed on the living, a level of gore that is both understated and intensely disturbing. A diverse group of characters seek refuge in the farmhouse as the dead attack, reflecting America’s societal tensions at the time. Duane Jones, an African American actor, portrays Ben, the film’s protagonist—a significant first for horror films. Romero credits Jones’ exceptional audition for securing the role, and his performance adds immense depth to “Night of the Living Dead”‘s heart-wrenching finale. Despite surviving the undead horde, Ben is ultimately shot by a group of rednecks who mistake him for a zombie. The enduring legacy of “Night of the Living Dead” lies not only in its influence on subsequent living dead films but also in its unflinching portrayal of the dangers faced by the living.

Shock Waves (1977)

In genre fiction, Zombies and Nazis are two antagonists that you should have no qualms about eliminating, making it logical for many films (and games) to merge these elements, resulting in a Nazi-zombie adversary that’s doubly terrifying and gratifying to eliminate. Movies like “Dead Snow” and “Overlord” took this concept and made it gory and entertaining, but the underestimated 1977 film “Shock Waves” deserves mention. Released before these, “Shock Waves” stands out due to its scarcity of zombie-killing scenes. Instead, vacationers stranded in the Caribbean encounter eyeglass-wearing undead, where a former SS commander (Peter Cushing) is hiding. During the war, he commanded a Nazi Death Corps of aquatic zombie soldiers, but their uncontrollable nature led him to sink their ship on this secluded island. The movie has an eerie, unsettling feel.

Dawn of the Dead (1978)

It’s plausible to argue that Romero’s 1973 film “The Crazies,” which revolves around a biological agent turning town residents into mindless beasts, can be considered a zombie movie. His subsequent return to the undead world occurred a few years later, resulting in one of the greatest horror films ever made – “Dawn of the Dead.” This film served as a strong critique of consumerism, portraying shoppers moving aimlessly through malls, and stands out for its exceptional makeup and gruesome effects. The story follows a group of survivors who seek shelter within a mall, while hordes of undead lurk outside. Initially, the mall appears to be a paradise of capitalism, but it soon transforms into a prison that strips survivors of their humanity. However, Romero always reminds us of the lost humanity within the horde of zombies. “Dawn of the Dead” has been imitated and referenced numerous times since, including “Shaun of the Dead,” the “Dead Rising” video game series, and a remake worthy of mention on this list. Yet none of its successors have managed to capture the sense of dread and melancholy that the original does.

Zombi 2 (1979)

Known alternatively as “Zombie Flesh Eaters” but marketed as “Zombi 2”, this film is a surprising standalone successor to the Italian adaptation of “Dawn of the Dead”. Directed by Lucio Fulci, who was renowned for his work in the “giallo” genre, this movie features an English-speaking cast and follows a woman and journalist investigating her father’s disappearance on a remote Caribbean island. Unfortunately, they discover that the island’s deceased are returning from their graves due to a voodoo curse. By this era, Haitian tradition and spiritualism were often used as cheap plot devices in movies, but “Zombi 2” stands out for its graphic scenes, such as one where a zombie pulls a woman’s head towards a wooden spike impaling her eye, and another where a zombie battles a shark. Despite the notoriety of these extreme moments and the film’s questionable title, “Zombi 2” hides beneath them an eerie, unsettling atmosphere that is surprisingly immersive.

Day of the Dead (1985)

In a sense, it could be argued that we ourselves might embody the classic image of the “living dead,” as this concept in zombie films has become so ingrained that it seems to have lost some of its original impact. However, George A. Romero’s third “Dead” movie, “Day of the Dead,” managed to revitalize and elevate this trope exceptionally well. Romero is a pivotal figure in zombie cinema, which is why he appears on this list multiple times.

The film takes place after the undead have already taken over the world, with a small group of humans living in a missile bunker in Florida. The scientists are trying to find a cure for zombism, although it’s questionable whether they truly intend to do so, given that the lead scientist, Dr. Logan, is more interested in training zombies to be docile. The military personnel guarding them are led by Captain Rhodes, who yearns to assert his authority using force in this post-society world. As the zombies have effectively conquered the living, “Day of the Dead” allows humanity to bring about its own demise.

The zombies portrayed in “Day” are almost heroic, with Bub, a somewhat intelligent undead creature trained by Dr. Logan, being particularly memorable. Intriguingly, Bub is often more compassionate than many of the living characters.

The Return of the Living Dead (1985)

In a twist of rights negotiation, John Russo, a collaborator on the movie “Night of the Living Dead,” kept ownership of the “Living Dead” title segment. This deal eventually paved the way for the release of the punk-zombie film “The Return of the Living Dead” in 1985. This movie is notable for introducing the concept of zombies with a penchant for “brains,” and its humor foreshadows the tone of “Treehouse of Horror” episodes from The Simpsons. The story follows a group of punks who, in an unusual turn of events, spend time in a cemetery, unaware that two hapless warehouse employees have accidentally released a gas that revives corpses. By skillfully blending over-the-top absurdity, self-aware silliness, and authentic gore with decaying zombies, “The Return of the Living Dead” set the tone for the depiction of zombies in the 1980s. This edgy humor, enhanced by the impressive practical effects of the ’80s, largely shaped the image of zombies during that decade, reaching its peak (or perhaps its lowest point, depending on personal preference) with Peter Jackson’s 1992 New Zealand gore-fest “Dead Alive.

Evil Dead II (1987)

Initially, “The Evil Dead” is a straightforward horror movie that tells the story of Bruce Campbell’s character, Ash Williams, and his friends who decide to stay in an old wooden cabin, read from a mysterious book called the Necronomicon, and subsequently unleash monstrous demons upon themselves. In contrast, “Evil Dead II” saw director Sam Raimi with a larger budget, allowing him to essentially remake his original film, but this time it veered more towards comedy, filled with witty gags and spooky slapstick humor. The classification of the creatures in “Evil Dead,” known as ‘deadites,’ as zombies is debatable; they possess a unique mythology that includes menacing trees among other supernatural horrors. However, there’s no denying the significant impact of “Evil Dead II”; it stands out as one of the best examples of filmmakers during the 1980s using the undead as a platform for creativity.

Scooby-Doo on Zombie Island (1998)

1990s saw a decline in the quality and reputation of zombie movies due to an excessive number of low-budget, overly comedic or gruesome films from the previous decade. However, it’s quite ironic that one of the best zombie movies from the ’90s was a direct-to-video Scooby-Doo feature. Each episode of the original Scooby-Doo series followed a predictable formula where the Mystery Inc. gang exposed the real culprit behind supernatural events, diminishing the scares. In contrast, “Scooby-Doo on Zombie Island” subverts this pattern. Years after their separation, Shaggy and his group reunite and visit a bayou island near New Orleans. Upon arrival, they encounter real zombies, voodoo curses, and werecats that have been enticing victims to Moonscar Island for years. This kid-friendly horror film is both effective and somewhat scary, managing to pay homage to the history of zombie movies despite Scooby’s television origins.

Wild Zero (1999)

During the ’90s, Western zombie movie genre was seemingly stagnant or dead creatively. However, things were stirring in the East, particularly in Hong Kong. In the preceding decade, films featuring jiāngshī, such as Mr. Vampire, had garnered popularity. Although these creatures are often referred to as vampires, they share more similarities with zombies than traditional bloodsuckers. Despite this, you’ll find Mr. Vampire on TIME’s list of top vampire movies rather than a zombie film listing. In 1993, Capcom introduced the first Resident Evil video game in Japan. The success of this game sparked a surge of Asian zombie films and eventually its influence reached the United States, including an American adaptation of the game, which we’ll delve into shortly.

1999’s Japanese film “Wild Zero” stands out as one of the most rocking zombie movies from the Asian horror era, and it does so quite literally. This action-packed extravaganza combines elements of horror, sci-fi, and comedy, featuring the real-life Japanese rock band Guitar Wolf. The band members take on heroic roles, helping a fan when the dead begin to attack. Motorcycles spew fire from their exhausts, zombie heads burst with just the right amount of CGI campiness for fun, and the lead singer wields a sword concealed within his guitar to vanquish UFOs. The movie is certainly packed with action, but it’s also gloriously excessive in its delivery. Moreover, it serves as an impressive demonstration of trans allyship. When the young fan initially recoils at learning that the girl he admires is trans, he experiences a vision of Guitar Wolf, his idol, who emphasizes that “love knows no boundaries, nationalities, or genders.” Absolutely!

Resident Evil (2002)

As a passionate movie enthusiast, I must confess that Paul W. S. Anderson’s “Resident Evil” might not top my list of favorite films, but it holds a significant place in the annals of zombie cinema. In 2002, it, along with “28 Days Later,” breathed new life into this subgenre in the Western world, elevating it to a level of critical recognition. Admittedly, “Resident Evil” might not have made significant strides in terms of critical acclaim.

The movie is a thrilling, low-brow spectacle with a few intriguing sequences, marred by questionable plot decisions and some less-than-stellar early 2000s CGI. Milla Jovovich plays Alice, a kick-ass amnesiac who ventures into the secret underground lab of the Umbrella Corporation after an outbreak of their T-virus, which brings corpses back to life and mutates them. In essence, “Resident Evil” ushered in a new era of zombies that were no longer just symbols of societal ills but formidable adversaries for gamers to annihilate. This theme is echoed throughout the series’ many sequels.

28 Days Later (2002)

As a cinephile, I find the chilling impact of “28 Days Later” lies in its quieter, more introspective scenes. Shot using lightweight digital cameras, giving the movie a haunting, slightly blurred quality, Danny Boyle masterfully captured the early morning solitude of an empty London, with Cillian Murphy’s character wandering aimlessly amidst the desolation. The eerie calm is often disrupted by the sudden onslaught of infected, heightening the tension.

Interestingly, the filming of “28 Days Later” coincided with the September 11 attacks, lending it an added dimension of societal dread and anxiety that feels all too familiar. The Rage Virus can also be seen as a metaphor for the uncontrollable anger and thirst for retaliation in America and its allies, foreshadowing the impending war in Iraq.

“28 Days Later,” standing tall alongside Romero’s zombies in significance to the genre, revolutionized the way zombie films were made and how they behaved. It continued the tradition of using the undead as a mirror for societal flaws, marking the beginning of a decade-long zombie revival that would forever change the horror landscape.

Dawn of the Dead (2004)

In my opinion, Zack Snyder’s remake of George A. Romero’s classic zombie film “Dawn of the Dead” surpassed all expectations it should have had. By preserving the mall-bound setting from the original ’78 film and infusing it with swift zombies and a heavy dose of post-9/11 societal tension, Snyder delivered an intense, harsh, and relentless cinematic experience.

The movie commences with Sarah Polley’s character returning home from work at the hospital, only to awaken to a world that has been drastically altered (a scene that ranks among the most impactful 10 minutes in any horror film). “Dawn of the Dead” then plunges headfirst into a violent, action-packed exploration of nihilism.

If Romero’s “Dawn” focused on the consequences of surrendering one’s mind to consumerism for the living, Snyder’s version offers a bleak portrayal of a nation in turmoil, with its residents desperately seeking safety and any power they can find as their foundations crumble around them.

Shaun of the Dead (2004)

Among the top three essential zombie films from the 2000s, “Shaun of the Dead” stands out due to its witty references to the history of zombie movies, given its playful title. Directed by Edgar Wright, this horror-comedy stars Simon Pegg as Shaun, a slacker who, along with his friend Ed (Nick Frost), gradually realizes they’re in the midst of a zombie apocalypse. Instead of taking action, Shaun plans to escape to their local pub with his ex-girlfriend. The film is humorous until it takes a more somber turn towards the end. “Shaun of the Dead” cleverly employs classic zombie tropes for comedic effect and uses the outbreak as a backdrop for a deeply human, character-driven drama. Its skillful genre-blending works best when viewers are familiar with the material it’s spoofing.

Fido (2006)

In essence, the movie ‘Fido’, set in a world where zombies serve as laborers, is an expansion of the last joke from ‘Shaun of the Dead’. This film is drenched in a retro 1950s Americana ambiance reminiscent of Tim Burton’s early works. In this universe, zombies are domesticated like pets, controlled by collars that prevent their instinct to eat flesh. The story revolves around a boy named Timmy who befriends his family’s new zombie, Fido. This friendship leads to various comedic situations, one of which involves Timmy’s mom (played by Carrie-Anne Moss) appearing to betray her husband with the zombie. ‘Fido’ predominantly functions as a witty, gory parody. It shines brightest when it juxtaposes the undead against the conformity and repression typical of the 1950s society.

[Rec] (2007)

As a film enthusiast, I’d say one of my favorite finds from the ’00s horror scene is the Spanish movie “[Rec]”, which was reimagined in America as “Quarantine”. This film brilliantly combines two popular horror themes: zombies and found footage. It stands out as an exceptional example of both subgenres.

From the viewpoint of a TV cameraman documenting a reporter for a nightly news program in Barcelona, “[Rec]” unfolds as we follow them joining firefighters responding to a medical call. Upon entering the apartment building, they and the residents soon realize they’re trapped due to an outbreak causing people to behave irrationally aggressive and mindlessly violent.

The action kicks off, and it’s a heart-stopping, unforgiving experience that makes viewers feel like they’re in the thick of it with the zombies—a sensation no other movie has quite captured. The unique format of “[Rec]” truly immerses audiences in the horror.

Pontypool (2008)

Despite a disappointing conclusion that dilutes its impact, the core of “Pontypool” is a captivating and cerebral take on conventional zombie films. Set in the tranquil town of Pontypool, Ontario, radio announcer Grant Mazzy finds himself in the midst of peculiar events while hosting his show. As he listens to reports from his helicopter correspondent and callers, the town appears to be undergoing a bizarre outbreak of madness, cannibalism, and dismemberment among its residents. What sets this apart is that Grant discovers the infection isn’t caused by a virus but by words themselves, as the English language has become contaminated. The movie’s tension is expertly built until the anticlimactic ending, which substitutes tidy explanations for the unease created earlier. However, before this letdown, “Pontypool” stands out from other zombie films because you primarily hear the terror unfold, making it all the more chilling as your imagination fills in the blanks.

Zombieland (2009)

As a movie critic, I’d rephrase it this way: “If ‘Shaun of the Dead’ cleverly crafted a horror-comedy around established zombie tropes, ‘Zombieland’ took it one step further, transcending homage to weave the survival rules of the undead into the very fabric of the narrative. In ‘Zombieland’, Jesse Eisenberg’s anxious character Columbus, accompanied by Woody Harrelson, Emma Stone, and Abigail Breslin, embarks on a road trip across a post-apocalyptic America teeming with zombies. Despite occasional serious moments or horror-leaning scenes, ‘Zombieland’ remains an enjoyable, laugh-filled ride, featuring a memorable Bill Murray cameo, and the tantalizing prospect of freedom from societal expectations for young people in this world where the undead have taken over. After years of zombie movies, ‘Zombieland’ offered a refreshingly optimistic perspective on a zombie apocalypse.

Train to Busan (2016)

In the 2010s, the zombie virus infiltrated cinemas across South Korea, leading to the creation of one of the most impressive modern zombie films: “Train to Busan”. This movie skillfully combines character development, social commentary, and pulse-pounding zombie action. The narrative follows Seok-woo, a workaholic white-collar employee, and his estranged daughter as they embark on the titular train during an outbreak of the undead in South Korea. When a passenger infected with the virus boards just before departure, it quickly spreads throughout the train, leaving Seok-woo and other survivors to unite and navigate forward, hoping to find a safe haven.

While many zombie movies concentrate on the terrible acts committed by selfish individuals during crises, “Train to Busan” stands out due to its portrayal of selflessness among ordinary, working-class citizens, which ultimately helps Seok-woo learn to make the right choices. Additionally, the film offers a truly chilling representation of zombies, as they sprint and climb over each other like a relentless wave of snarling undead, rather than acting individually.

It’s worth mentioning that the 2013 version of “World War Z” showcased a horde of zombies resembling ants on the big screen, which was a unique representation of the undead before “Train to Busan.” Although this innovation in depicting the undead is impressive, the rest of the movie failed to live up to expectations, despite having a significantly larger budget compared to typical zombie films. This is surprising considering that the book it’s loosely based on is well-regarded as one of the best works in the genre of undead fiction.

The Girl With All the Gifts (2016)

Zombies, with their terrifying nature, are particularly frightening because they were once human beings like us. Some movies have delved into the notion that there might still be traces of humanity within these undead creatures, showing compassion towards them. For instance, George A. Romero’s “Day of the Dead” portrayed a somewhat intelligent zombie named Bub. In the 2000s, two films explored this theme: the lighthearted zombie romance “Warm Bodies” and the post-apocalyptic movie “The Girl With all the Gifts.” While the former is entertaining but forgettable, the latter centers around a scientist and a teacher who are attempting to comprehend and safeguard a girl infected with the fungus that transformed most of humanity into zombies. Though she experiences hunger as a result of her infection, she can partially control it. Is she still considered a monster then, or is there something more to her? “The Girl With all the Gifts” raises challenging questions about the essence of being human. (The movie seems particularly relevant today due to the popularity of “The Last of Us” and its HBO adaptation, which also feature fungus-infected zombies.)

One Cut of the Dead (2017)

The history of zombie films is filled with low-budget productions made by creative and enthusiastic filmmakers. However, “One Cut of the Dead” stands out as an energetic and fitting tribute to those who make zombie movies. In this 90-minute Japanese film, the first 30 minutes consist of a single, continuous shot capturing a group of actors and crew trying to produce a low-budget zombie movie, but real zombies suddenly attack during filming. Without giving away the clever twist in “One Cut of the Dead,” the second act reveals a completely different narrative that sheds new light on the initial action, while the final 30 minutes offer an incredibly imaginative homage to genre filmmaking.

Blood Quantum (2019)

It’s always exciting when a genre uncovers a unique concept or captivating symbol that hasn’t been explored before, and this is precisely what happens with the novel Blood Quantum. In the 1980s, Canada experiences a zombie outbreak. However, an unexpected twist arises among the residents of a First Nations tribe: those carrying Indigenous blood are immune to the infection. This twist flips the tragic historical reality on its head, as numerous native populations were wiped out by diseases brought over by white settlers. Although they are safe from becoming zombies through a single bite, the members of Red Crow Indian Reservation must still face the myriad dangers that come with a post-apocalyptic world. They fortify themselves, grappling with how to handle the undead and the many whites seeking supposed safety. Blood Quantum has its flaws—despite its innovative premise, it occasionally veers into predictable zombie plotlines—but it demonstrates that there’s still plenty of vitality in the undead genre.

#Alive (2020)

In a world where the pandemic has left us yearning for fresh entertainment, #Alive could hardly have been more fitting as a COVID-19 movie – if only it had been created during the pandemic instead of presciently filmed the year prior and released in 2020. As a gamer forced to shelter in his apartment amidst Seoul’s zombie outbreak, protagonist Oh Joon-woo encounters feelings of isolation, boredom, and fear for an uncertain future since there’s no clear timeline for returning to normal life. Amazingly, #Alive steers away from nihilism or overly distressing recollections. Instead, it underscores the profound significance of human connection and showcases our determination to find companionship amidst harrowing circumstances.

Handling the Undead (2024)

In many films, when zombies emerge from graves, it’s clear they bring trouble. However, one might wish for their deceased loved ones to return in real life, especially those grieving their loss. The Norwegian film “Handling the Undead” uses zombies as a symbol of profound grief exploration. In Oslo, when the deceased mysteriously come back to a semblance of life, three families – a mother mourning her son, an elderly woman missing her partner, and a husband who lost his wife in an accident on the same day the dead rose – struggle with this disturbing interruption in their grieving process. The returned dead aren’t miraculously brought back to life; they decompose, don’t communicate, and show no emotions. Their presence is more distressing than when they were truly dead, but what can their loved ones do? It’s almost comforting at the end when the undead start exhibiting traditional zombie behaviors like eating the living. This kind of horror is much easier to bear than the harsh reality of loss and the gradual acceptance that what’s gone can never return.

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2025-06-21 01:07

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