From a modern-day perspective, zombies come in one of two flavors: they’re either creatures of chaos or walkers fueled by wacky circumstances. Yet, in the new film Handling the Undead (based on the book of the same name by Let the Right One In author, John Ajvide Lindqvist), writer/director Thea Hvistendahl (The Monkey and the Mouth) presents these terrors in a more subdued fashion, one that allows the story to focus more on the desaturated, emotional landscape of its human cast than the cold-blooded spooks of its supernatural elements. But is such a unique presentation a step in the right direction for such a beloved subgenre? In the case of this horror, there’s no easy answer.
Renate Reinsve as Anna in HANDLING THE UNDEAD. Photo courtesy of NEON.
As Handling the Undead begins, we meet three sets of Norwegian families who reside in Oslo. While they all come from different backgrounds, each of them has something in common: they’re either currently facing or about to enter the grieving process. From a father (Bjørn Sundquist) and daughter (Renate Reinsve) saddened over the loss of a grandson/son, to a man trying to figure out how to deal with a sudden familial death, the film covers all of the essential stages we experience when losing someone special. But when a bizarre electrical incident occurs during a hot summer evening, these various characters’ lost loved ones mysteriously reappear. And in true zombie fashion, they’re far from the loving humans they once were.
Renate Reinsve as Anna in HANDLING THE UNDEAD. Photo courtesy of NEON.
Drenched in cinematographer Pål Ulvik Rokseth’s gray color palette, Hvistendahl brings Lindqvist’s tale to life in a way that feels painfully believable. Not only does she capture this world as if it was a series of polaroid pictures, but Hvistendahl doesn’t hold back from presenting the unglamorous sides of mourning. From focusing on one person’s stressful eating habits to glimpses of messy bathrooms, we are treated to every flawed choice these characters could make. But it’s the quiet, slow-burning moments of Handling the Undead that show Hvistendahl’s confidence as a storyteller, notably in the imagery she chooses to evoke her ensemble’s inner turmoil.
Similarly, the cast of Handling the Undead is just as compelling. For starters, The Worst Person in the World’s Renate Reinsve gives the character of Anna a layered sadness communicated with delicate precision. It’s a magic trick not every actress can pull off, but without even a mention of her backstory, you can feel the heavy weight on her shoulders. This particularly becomes evident during the sequence where Anna first sees her son sleeping in bed, now in his undead form. Without even as much of a scream, we as the audience can feel every bit of the mixed emotions going through her and how genuinely horrific her little boy’s death must have been.
The same can be said for the rest of the film’s immensely talented actors. Veteran Bjørn Sundquist brings a painfully haunting quality to his character, particularly when he has to go through the hardest of trials with his zombified grandson. Anders Danielsen Lie also balances his young fatherly role with the right amount of warmth and sadness, making for some of the film’s more bittersweet moments.
L-R: Bente Børsum as Tora and Olga Damani as Elisabet in HANDLING THE UNDEAD. Photo courtesy of NEON.
Yet, easily the standout amongst them all is Bente Børsum. In the film, she plays Tora, a widower who just lost the love of her life, Elisabet (played to unnerving zombie perfection by Olga Damani). As the film progresses, we can see every bit of Tora’s life story playout on Børsum’s face. From moments of her simply rearranging some flowers to her taking care of Elisabet’s undead body, it’s clear that Børsum is putting her acting heart out on full display here without batting a lash, proving that this talented actress deserves way more recognition (internationally) than she’s received in her multi-decade career.
Unfortunately, even with all these wonderful tools at the film’s disposal, Handling the Undead often feels like a movie suffering from an identity crisis. At times, it desperately wants to be an arthouse drama, fueled by fantastic performances. But suddenly, in its last 10 minutes, it rushes to become another off-the-shelf zombie flick, with little to no explanation of how we got from one pendulum swing to the other. It’s this uneven switch that likely won’t satisfy the thirst for traditional horror fans and certainly not for those with more indie film tastebuds.
Bahar Pars as Eva in HANDLING THE UNDEAD. Photo courtesy of NEON.
It also doesn’t help that the film feels like it runs out of steam right after its premise begins. Obviously, the initial concept and presentation is fascinating to behold (especially in its trailer form). Yet, much like an elaborate music video or short film, Hvistendahl’s final product doesn’t hold the narrative weight to justify its 98-minute runtime. Because even though it dangles some juicy zombie fruit towards its potential, the outcome doesn’t have enough fuel in its thematic nor emotional tank to keep going.
Some of this could be due to the deliberately slow pacing that takes up a large part of the film’s first two acts. We’re given long, drawn out glimpses into these families’ lives in the hopes that we’ll similarly understand the confusion they feel, while dealing with these bizarre sets of circumstances. But rather than delivering on the payoff that we’re constantly teased with, Hvistendahl’s film runs towards a conclusion that doesn’t quench the terrifying thirst it promises to produce.
At the end of the day, Handling the Undead is a zombie film that features timid bites with little flavor. It doesn’t say anything new in regards to the concept of loss and doesn’t it do anything genuinely inventive with its zombie elements. And while Hvistendahl and everyone else involved clearly have the talents to deliver a captivating horror somewhere down the line, it’s clear that this tale of grief needed a little more time to rest before it was unleashed from its cinematic coffin.
In select theaters beginning May 31st, 2024.
For more information, head to the official NEON Handling the Undead webpage.
Final Score: 2.5 out of 5.
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Categories: In Theaters, Reviews
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