Ben Howling and Yolanda Ramke’s debut film, the postapocalyptic thriller Cargo (2017), enacts a critical commentary on the significance of Australia’s National Apology and its limitations as a cultural work of healing the national wound. The unknown virus and its devastating effects on White and Indigenous characters alike manifest as symptoms of a broader sociocultural disease. Specifically, Cargo contemplates the question of healing—of reparation and reconciliation—and the appropriateness of moving from apology to gratitude, from “sorry” to “thank you,” as a shift in contemporary Australian cultural relations. The adaptation of the film from its original form, a 2013 Tropfest short, in which a young girl, riding on the back of her zombified father, is rescued by a group of White survivors, to the work’s feature-length format and incorporation of First Nations characters, points up the way in which Cargo engages with Australia’s complex political and social landscape, and comments on the possibility of shared understanding and healing in the movement towards a reconstituted future.