Released in 2019, Jeff Barnaby’s (Mi’gMaq) Blood Quantum takes the established tropes of North American Zombie Cinema—the unexplained viral outbreak, the infectious bite, and the violent conflict between factions of survivors, the young, pregnant survivor and the symbolic potential of the zombie itself—and deftly reworks them through a First Nations perspective. This reworking manifests itself within the narrative as a series of sustained inversions, which invest the opposite within the selected tropes and archetypes, all enabling Barnaby—as writer, director, and editor—to reflect, comment upon, and critique Canada’s colonial past: the zombie is reconfigured as the ever-advancing White settler, specific lines of dialogue raise issues of slavery and class conflict while the behavior and actions of certain characters recall traumatic moments from First Nations history. Integrated into this critique are instances that occurred at Barnaby’s birth Nation, Listuguji. This specifically focuses upon the raids conducted by the Quebec Provincial Police in relation to salmon fishing rights and the subsequent documentary about these raids, Incident at Restigouche, by Alanis Obomsawin (1984). This imagery, when combined with the film’s sustained colonial critique, positions Blood Quantum as a film of Fourth Cinema, a cinematic work that has a clear Indigenous Voice emerging from both the film and its director.