In the summer of 2002, I was an excited teenager buying a cinema ticket to 28 Days Later, the new British zombie film everyone was talking about. As a devoted horror fan, I had high expectations, and the film didn't disappoint. In fact, it changed my relationship with the horror genre. What struck me most was the sense that this movie, about a zombie virus outbreak, acknowledged women on screen - and in the audience - as equals. The women in 28 Days Later were afforded emotional realism, agency