‘Handling The Undead’ Review – A Profound Look At Life And Loss

Our bodies are a part of us, but we are not our bodies. Our bodies are a shell that houses…something. A soul? An essence? One does not need to be religious to understand that we are more than flesh, blood, and bone. It is the same reason that all of us have had the experience of attending a funeral, seeing a body, and thinking “that’s not them.” Because it truly is not. It is a representation of our loved one, but it is certainly not the same. It is one of many things that makes grief difficult, unknowable, and deeply amorphous. Likewise, the film Handling the Undead shares all of these challenging aspects.

The film, from debut narrative director Thea Hvistendahl, will likely be a difficult film for most viewers. Technically, this is a zombie movie, but to call it that is both unfair to the depths it goes and gives expectations that will never be met. While there are horror elements, this is much more focused on the human processes of connection, love, and ultimately, grief. The script, from Hvistendahl and John Ajvide Lindqvist, takes its time and refuses to hold your hand. The story follows a number of individuals who have dealt with the loss of a loved one. Their stories are told in a painstakingly slow manner. While it can be a struggle with pace, this elongated experience mirrors the very feeling of grief. 

Whether the focus of loss is a mother, a lover, a spouse, or a child; it is difficult to make sense of the lack. The most impressive performance unsurprisingly is from Renatea Reinsve (star of The Worst Person in the World), but for different reasons than expected. In previous roles, she has a charm, even if it is hidden beneath toxicity. Here, we meet her character, Anna, after the worst has happened. However, Hvistendahl saves that reveal for a bit, which makes us question our own reactions. Her coldness towards her father, Mahler (Bjørn Sundquist), is initially unexplained and leads us to wonder just what is wrong with her. Reinsve’s journey is a challenging one, as most of her voice is limited by the intense sadness and shock she is going through. Her ending point, which leaves room for interpretation, only works due to her engaged, stunning, physical performance.

In a reunion of sorts from The Worst Person in the World, Anders Danielsen Lie is featured in a parallel role to Reinsve. David (Danielsen Lie) has lost his wife and mother to his two children. His confusion, heartbreak, and inability to process while his children still need him is achingly real. Yes, his wife is a zombie of sorts, but his children, still living, need a stabilizing force which he is unable to provide due to his loss. In the midst of a supposed horror film, we find the perfect encapsulation of suddenly becoming a widower.

Hvistendahl, along with cinematographer Pål Ulvik Rokseth, create a haunting look for the film that forces the attention of the viewer. Early on, there is a slow shot on the top of a building as we watch Mahler walk home that plays on the tropes of suspense. If the viewer is focused, it will make them lean forward in their seat just slightly, ready to jump from the simplest provocation. That trigger never comes, but the sadness does. Much like a grieving person, we would love a simple, loud answer, but those never come. Additionally, the sound design from Nils Viken works perfectly in tandem with the overall mood of the film. It serves as a way to emotionally complement without ever becoming overbearing, like many films of this type. Many slow-paced films use the sound as a crutch to keep the audience focused. Hvistendahl trusts her audience and the rewards, though complex and difficult to detail, are clearly apparent.

Handling the Undead will not be for everyone, but everyone has felt what the film is attempting to communicate. Grief is deeply complicated and difficult. There is no right way to process. We all must find our own way. But the way must be traveled, there are no shortcuts. We must find a way to accept that our loved ones are gone. They cannot be replaced, only remembered. Even if we hold on to their bodies, that is only a lie that we tell ourselves. They are not their bodies, they are more than that. And their loved ones are the only ones who can truly understand the multitudes that they were. Loss is the saddest part of life, but it reminds us that love, care, compassion, and connection all matter.

Handling the Undead is currently playing at the IFC Center in New York courtesy of Neon. The film will expand to additional markets on June 7, 2024.