Bruce LaBruce’s Otto; or, Up with Dead People (2008) is not your typical zombie movie. It challenges the conventions of both horror and arthouse cinema, presenting a surreal and provocative narrative centered on identity, marginalization, and the metaphorical weight of the undead. At its core, the film is a deep dive into queer identity wrapped in the grotesque and experimental trappings of zombie horror. But is it an artistic triumph, or does it get lost in its own ambition?
The film follows Otto (played by Jey Crisfar), a melancholic young man who believes he is a zombie. He emerges from a graveyard and roams the streets of Berlin, grappling with fragmented memories and an undefined sense of self. Otto’s journey takes a turn when he meets Medea Yarn (Katharina Klewinghaus), a filmmaker who casts him in her political avant-garde project about zombies as symbols of societal oppression.
What unfolds is a layered narrative that blurs the lines between Otto’s perceived reality, Medea’s ambitious filmmaking, and the overarching exploration of existential alienation. The film is less about traditional zombie horror and more about using the undead as a lens to examine queer identity and societal rejection.
Jey Crisfar’s portrayal of Otto is understated yet deeply affecting. Otto is not your typical zombie—he’s introspective, gentle, and lost in his own existence. Crisfar captures the character’s vulnerability with a haunting stillness that contrasts sharply with the chaotic world around him. His performance invites empathy, making Otto a character that viewers can connect with on a deeply emotional level.
Katharina Klewinghaus brings an entirely different energy to the film as Medea Yarn. Her over-the-top portrayal of the pretentious filmmaker injects dark humor into the story, often providing a satirical critique of the art world’s tendency to exploit social issues for self-serving creative projects. While her character can feel grating at times, it serves as a stark counterbalance to Otto’s introspection.
Visually, Otto; or, Up with Dead People is an eclectic mix of gritty realism and surreal dreamscapes. Bruce LaBruce employs a variety of techniques, including grainy film footage, vibrant bursts of color, and stark monochrome imagery, to create a disjointed and otherworldly aesthetic. These visual contrasts mirror Otto’s fractured sense of identity, pulling viewers into his perspective.
The film is also unapologetically graphic, blending explicit sexual content with visceral gore. While these elements serve the narrative’s themes of bodily autonomy and societal rejection, they can be overwhelming for viewers unprepared for the film’s transgressive nature.
At its heart, Otto is a metaphorical exploration of queerness and societal exclusion. Otto’s belief that he is a zombie reflects the alienation and invisibility often experienced by LGBTQ+ individuals in a world that marginalizes them. The film reframes traditional zombie tropes, using the undead not as monsters but as symbols of the oppressed and misunderstood.
Medea’s film-within-a-film explicitly draws on this metaphor, portraying zombies as representations of those cast aside by societal norms. While this commentary is sometimes heavy-handed, it is undeniably thought-provoking, adding a layer of complexity to what could have been a straightforward narrative.
The film’s humor is dark and biting, often at the expense of the art world. Medea’s pretentious monologues and self-indulgent filmmaking project are played for laughs, exposing the contradictions and hypocrisies of using marginalized groups as artistic subjects. However, this satire can occasionally overshadow the emotional weight of Otto’s story, creating a tonal inconsistency that may frustrate viewers.
Otto; or, Up with Dead People is not without its shortcomings. Its experimental structure and fragmented narrative can make it feel disjointed and difficult to follow. The explicit content, while thematically relevant, is likely to alienate viewers who are not accustomed to such bold imagery. Additionally, the film’s heavy-handed symbolism and Medea’s over-the-top personality may come across as indulgent, detracting from the more poignant aspects of the story.
Despite its divisive nature, Otto has carved out a unique place in the queer horror canon. Its willingness to tackle taboo subjects and push the boundaries of genre cinema has made it a cult favorite among fans of transgressive filmmaking. The film’s exploration of identity, alienation, and societal norms resonates with those who see themselves in Otto’s journey, even as it challenges mainstream sensibilities.
This film is not for everyone. Its explicit content, avant-garde style, and unconventional approach to storytelling make it a challenging watch. However, for those who appreciate experimental cinema, bold social commentary, and unique takes on genre tropes, Otto offers a deeply rewarding experience.
Otto; or, Up with Dead People is a film that defies easy categorization. It is part horror, part arthouse, and entirely unapologetic in its exploration of identity and marginalization. While its experimental nature and explicit content may limit its audience, those willing to engage with its themes will find a thought-provoking and unforgettable work of cinema.
Bruce LaBruce has created a film that challenges viewers to reconsider their perceptions of horror, queerness, and the undead. Whether you view it as a bold artistic statement or an indulgent misfire, Otto leaves an indelible impression, cementing its place as one of the most unique entries in the zombie genre.