Jean Rollin remains the only French filmmaker to return repeatedly to the paradigms of the zombie film across a number of projects. In a series of films produced between 1978 and 1982, Rollin developed a consistent approach to depictions of the zombie that paralleled the work of other contemporaneous filmmakers more readily associated with the subgenre, such as George A Romero and Lucio Fulci. However, Rollin’s zombie films are relatively little-discussed. This chapter will examine the three core zombie films that could be said to be authored by Rollin: Les raisins de la mort (Grapes of Death, 1978), La nuit des traquées (Night of the Hunted, 1980), and La morte vivante (The Living Dead Girl, 1982). In these films, Rollin develops a localized representation of zombies as, at least partially, sympathetic victims of industrial accidents covered up by corrupt authorities. In Rollin’s films, the zombies demonstrate cognizance of their condition, battling against the gradual erosion of their humanity. For Rollin, memory is integral to this: memory is connected to free will and autonomy; the loss of memory is accompanied by the subjugation of free will to blind instinct. Rollin’s zombie films push against the paradigms that, originating in Romero’s Night of the Living Dead (1968), dominated zombie movies of the 1970s. Anticipating zombie films of the postmillennial period, which often posit zombies as “infected” rather than as reanimated corpses, Rollin’s zombie movies contain zombies that bear little to no visual signifiers of their status as the “living dead.”