A film critic tasked with writing about the umpteenth remake of “Night of the Living Dead” (1968) can be forgiven for approaching the assignment with trepidation. Does the world need another zombie movie?

The original film alone launched six sequels helmed by the man who started it all, writer and director George Romero. Then there are the remakes, the reimaginings, and rip-offs, plus the satires, the series, and something called “Pride and Prejudice and Zombies.” The latter was a novel, a movie, a video game, and a Broadway musical. Okay, “Pride and Prejudice and Zombies” wasn’t on Broadway, but don’t think it couldn’t happen. 

Technically speaking, “Handling the Undead” is an adaptation of a 2005 novel by John Ajvide Lindqvist. A writer specializing in horror, Mr. Lindqvist adapted his first book, “Let the Right One In” (2004), for a film directed by Tomas Alfredson. The resulting picture went on to win a host of international awards and almost universal acclaim. Critic Roger Ebert dubbed it “the best modern vampire movie.”

“Let the Right One In” was at a distinct remove from the typical genre movie; so, too, is “Handling of the Undead.” Mr. Lindqvist is back on hand adapting his 2009 novel of the same name, this time in collaboration with the film’s director, Thea Hvistendahl. What they’ve crafted is not showy or typical, though it is unsettling. Zombies? Yeah, they’re here — if not in abundance, then certainly to be dealt with. Yet are they to be feared? Mr. Lindqvist and Ms. Hvistendahl hold off on answering the question, and in doing so they end up exploring the lengths to which human beings will go to hold on to the memories of those dear to them.

Tales of the supernatural are, to one degree of profundity or another, meditations on mortality. The original “Night of the Living Dead” encompassed salient themes, some of which were expected (zombies are no damned good) and some of which were not (the ramifications of societal tumult). “Handling the Undead” explores terrain that is considerably more intimate. Here is a zombie picture touched by what can only be described as Norwegian reserve.

The basic setup of “Handling the Undead” is the same as “Night of the Living Dead”: an unknown occurrence — an extraterrestrial phenomenon, it seems — causes the recently deceased to be not so deceased. Unlike the lumbering zombies of yore, the monsters we encounter here are passive. The entire notion of “monstrous” is, at least initially, held at arm’s length. Tenderness is a recurring theme, though extremity ultimately puts it to the test. This is a picture marked by quietude and gentleness.

The focus is on three families, each of whose stories are intercut and overlapped. Anna (Renate Reinsve, star of “The Worst Person in the World”) lives with her father Mahler (Bjørn Sundquist); both are mourning the loss of Anna’s young son. Tora (Bente Børsum) is acclimating to life after the loss of her partner Elisabet (Olga Damani). As for Eva (Bahar Pars) and David (Anders Danielsen Lie): They’re about to celebrate the birthday of their son Kian (Kian Hansen). As it turns out, Eva ends up dying in an automobile accident. But then she turns out not to be dead….

Ms. Hvistendahl’s picture is sparse with words, patient in build-up, and, in its beginning moments, frustratingly diffuse. Those who stick with the film’s pacing will find themselves caught up in the filmmakers’ doleful, transformative logic. There’s a Bergmanesque gravitas to the proceedings, an almost lyrical accumulation of portent and emotion that is only fleetingly spoiled when Ms. Hvistendahl stoops to gratuitous zombie precedent. Overall, though, she keeps her picture on the one, making for an auspicious debut and a horror movie of rare and pensive merit.