Otto; or, Up with Dead People (2008) Poster

Otto; or, Up with Dead People (2008)

  • Rate: 5.5/10 total 946 votes 
  • Genre: Comedy | Drama | Horror | Adult
  • Release Date: 18 September 2008 (Germany)
  • Runtime: 94 min
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Otto; or, Up with Dead People (2008)


Otto or Up with Dead People 2008tt1151384.jpg poster

  • IMDb page: Otto; or, Up with Dead People (2008)
  • Rate: 5.5/10 total 946 votes 
  • Genre: Comedy | Drama | Horror | Adult
  • Release Date: 18 September 2008 (Germany)
  • Runtime: 94 min
  • Filming Location: Germany
  • Gross: $10,942(USA)(1 February 2009)
  • Director: Bruce La Bruce
  • Stars: Jey Crisfar, Marcel Schlutt and Nicholas Fox Ricciardi
  • Original Music By: Mikael Karlsson   
  • Soundtrack: Organicism
  • Sound Mix: Dolby
  • Plot Keyword: Schizophrenia | Graveyard | Identity Crisis | Post Punk | Shot In The Head

Writing Credits By:

  • Bruce La Bruce (writer)

Known Trivia

    Plot: Full synopsis »

    Story: A young zombie named Otto appears on a remote highway. He has no idea where he came from or where he is going… See full synopsis »


    Synopsis: A young zombie named Otto appears on a remote highway. He has no idea where he came from or where he is going. After hitching a ride to Berlin and nesting in an abandoned amusement park, he begins to explore the city. Soon he is discovered by underground filmmaker Medea Yarn, who begins to make a documentary about him with the support of her girlfriend, Hella Bent, and her brother Adolf, who operates the camera. Meanwhile, Medea is still trying to finish Up with Dead People, the epic political-porno-zombie movie that she has been working on for years. She convinces its star, Fritz Fritze, to allow the vulnerable Otto to stay in his guest bedroom. When Otto discovers that he has a wallet that contains information about his past, before he was dead, he begins to remember details about his ex-boyfriend, Rudolf. He arranges to meet him at the schoolyard where they met, with devastating results.


    FullCast & Crew

    Produced By:

    • Bruce Bailey known as co-producer
    • Jürgen Brüning known as producer
    • Leonard Farlinger known as co-producer
    • Jörn Hartmann known as producer
    • Michael Huber known as producer
    • Jennifer Jonas known as producer
    • Terrence Koh known as co-producer
    • Bruce La Bruce known as producer
    • Claus Matthes known as co-producer
    • Javier Peres known as co-producer

    FullCast & Crew:

    • Jey Crisfar known as Otto
    • Marcel Schlutt known as Fritz Fritze
    • Nicholas Fox Ricciardi known as Young Man in Hooded Sweatshirt
    • Keith Böhm known as Man in a Suit and Hat
    • Olivia Barth known as Woman in a Black Burqa/Woman on Subway #1
    • Christophe Chemin known as Maximilian
    • Katharina Klewinghaus known as Medea Yarn/Lascivious Ballet Dancer #1
    • Stephanie Heinrich known as Old Woman (as Stefanie Heinrich)
    • John Edward Heys known as Old Man
    • Max Di Costanzo known as Amusement Park Zombie #1
    • Orion Zombie known as Amusement Park Zombie #2
    • John Wloch known as Headstone Shop Owner
    • Guido Sommer known as Adolf
    • Elliat Graney-Saucke known as Woman on Subway #2
    • Ramin Farhadi known as Young Boy on Subway
    • Nicolas Koenigsknecht known as Man on Subway #1
    • Daniel Grothe known as Gay Boy on Subway #1
    • Émile Dunichaud known as Gay Boy on Subway #2
    • Gio Black Peter known as Rudolf
    • Jürgen Seipel known as Taxi Driver
    • Susanne Sachße known as Hella Bent/Lascivious Ballet Dancer #2
    • Ferdinand Marian known as Park Carnivore #1/Night Club Zombie #1
    • Torsten Meyer known as Park Carnivore #2
    • Pascal Herr known as Park Carnivore #3
    • Ena Schnitzlbaumer known as Park Carnivore #4
    • Stefanie Reißnecker known as Park Carnivore #5
    • Wiebke Hoogklimmer known as Park Carnivore #6
    • Nina Kharytonova known as Park Carnivore #7
    • Asha Mines known as Park Carnivore #8
    • Peter Jung known as Yummy Boy eating Ice Cream Cone
    • Mahsun Erdogan known as Street Ragamuffin #1
    • Serhat Erdogan known as Street Ragamuffin #2
    • Arturam Oruç known as Street Ragamuffin #3
    • Stefan Kuschner known as Butcher, Otto's Father
    • Peter Bürger known as Night Club Zombie #2
    • Mo known as Zombie Boy
    • Alfio Tombolato known as Warrior Thug #1
    • Fashion P.D.G. known as Warrior Thug #2
    • Valentin Plessy known as Warrior Thug #3
    • Nicolas Mallet known as Warrior Thug #4
    • Kevin Murphy known as Warrior Thug #5
    • Emanuele Rizzi known as Basher #1
    • Burak Icer known as Basher #2
    • Gökan Alabay known as Basher #3
    • Haçi Alabay known as Basher #4
    • Christophe Linéré known as Somnambulistic Duet Dancer #1/Lascivious Ballet Dancer #8
    • Frédéric Gies known as Somnambulistic Duet Dancer #2/Lascivious Ballet Dancer #9
    • Kembra Pfahler known as Lascivious Ballet Dancer #3
    • Rudy Marchal known as Lascivious Ballet Dancer #6
    • Christian Modersbach known as Lascivious Ballet Dancer #7
    • Laura Berger known as Little Girl in Supermarket
    • Pedro Sobisch known as Supermarket Manager
    • Mandy Berger known as Little Girl's Mother
    • Efe Yildiz known as Slaughterhouse Manager
    • Nils Jacobson known as Orgy Zombie #1/Revolutionary Zombie #1
    • Josh Ford known as Orgy Zombie #2/Revolutionary Zombie #5
    • Stan Steel known as Orgy Zombie #3/Revolutionary Zombie #4
    • Michael Shade known as Orgy Zombie #4/Revolutionary Zombie #3
    • Marcel Hoffmann known as Orgy Zombie #5/Revolutionary Zombie #2
    • Florian Manns known as Orgy Zombie #6
    • Lars Freimann known as Orgy Zombie #7
    • Luc Nostnad known as Orgy Zombie #8
    • Fabrice known as Orgy Zombie #9



    Supporting Department

    Makeup Department:
    • Pascal Herr known as key makeup artist
    • Pascale Jean-Louis known as makeup artist
    • Tan Binh Nguyen known as makeup artist

    Art Department:

    • Christophe Chemin known as illustrator
    • Tristan Jalleh known as illustrator
    • Nicholas Fox Ricciardi known as assistant property master: indoor
    • Ole Voss known as property master: outdoor




    Production Companies:

    • Jürgen Brüning Filmproduktion
    • Existential Crisis Productions
    • New Real Films (co-production)

    Other Companies:

    • Canada Council for the Arts  funding
    • Dienst und Leistung  catering
    • Ontario Arts Council  funding

    Additional Details


    • GMfilms (2008) (Germany) (all media)
    • Kojo Pictures (2008) (Australia) (DVD)
    • Outplay (2011) (France) (all media)
    • Peccadillo Pictures (2010) (UK) (all media)
    • Strand Releasing (2008) (USA) (all media)



    Other Stuff

    Release Date:
    • USA 19 January 2008 (Sundance Film Festival)
    • Germany 12 February 2008 (Berlin International Film Festival)
    • Turkey 21 February 2008 (!f Istanbul Independent Film Festival)
    • France 27 March 2008 (Palais de Tokyo)
    • Czech Republic 30 March 2008 (Febio Film Festival)
    • UK 5 April 2008 (London Lesbian and Gay Film Festival)
    • Poland 25 April 2008 (Culture for Tolerance Festival)
    • USA 27 June 2008 (Frameline Film Festival)
    • Germany 18 September 2008
    • Finland 19 September 2008 (Helsinki International Film Festival)
    • USA 7 November 2008 (limited)
    • Argentina 15 November 2008 (Diversa Film Festival)
    • USA 10 February 2009 (DVD premiere)
    • France 6 September 2009 (L'Étrange Festival)



    Filmography links and data courtesy of The Internet Movie Database

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    Posted on March 30, 2012 by Harry in Movies | Tags: , , , , .


    1. rumblefish80 from United Kingdom
      30 Mar 2012, 11:20 pm

      OK, I am open minded, I love filmmakers that think out of the box and Ilove when genres are messed about with. I love going to the cinema,especially to film festivals where you can discover gems that no oneelse has seen yet. Sadly this film was not a gem. It did not shock me,it did not thrill me. I found it all a bit amateurish and before youattack me and say it was low budget and therefore excusable then don'twaste your time. I don't believe in negative reviews, I like to look atthe good and the bad, no doubt I will get eaten (no pun intended) bythe super fans. The acting was pretty terrible to be fair and thecamera work was at times clumsy. The sexual scenes sometimes seemed tointerrupt the films flow, as if they were slotted in there because thatis what his fans expect and want. It is important that films like thisare made though and the have an audience of die hard fans but I'm justletting other horror fans in particular zombie fans know that this ismore of a porn film than a zombie film.

    2. mkrjr from United States
      30 Mar 2012, 11:20 pm

      "Otto; or, Up With Dead People"- yes, that is the title- is a film(student-esque looking, really) about… well, not really 'about'because the plot barely delves into a story about him- except that hehad an ex-boyfriend… a zombie named Otto. He walks around. A lot.Then in an Otto-unrelated situation, some other zombie fornicates withanother zombie through a self-made stomach-hole. The film was like,half mockumentary and half some other crap. I'm sure there are somepolitical revolutionary symbols that one could find relating thezombies to sex-repressed humans or blah blah, but I've seen politicalliving dead films before, and this ain't it. Okay, I'm not one tocompletely tear apart some other artist's work, so I will say that thecinematography was great in certain scenes- like Otto walking through afield of yellow flowers- the colors were great, and there was onecharacter that was a walking silent-film… that was pretty neat. So,when it all comes down to it:

      What Drew Me To See It: I was perusing through IMDb and saw thekeywords "Gay Zombie Movie," and though, "Hey. That's new to me."

      What I Was Doing While Watching It: Falling asleep. I tried really hardto get into it. I was at a point where I felt like I would beostracized on the internet horror-movie community if I didn't watch thewhole film. So I watched it in 2 parts. Two long, long, slow-moving,confusing parts.

      Stood Out For Better: The walking silent film, some visual scenes, andmy want to keep watching for the first half. Otto was interesting aswell. I just wanted to keep watching him, at first. Oh, and thestomach-screwing was notorious with me.

      Stood Out For Worse: The stomach-screwing was okay with me- I'm a fanof outrageous gore and exploitation, but the big orgy of bear-bikerzombies towards the end was just too much. And the 'freshman year infilm school at the most' vibe of the film really threw me off. It had ahard time drawing my interest and keeping me entertained. I was moreanxious to stay awake than I was to watch.

      Overall: I hate to be harsh, but this film gets a C-. The only reason Ididn't give it a D was because I really wanted to watch it. I didn'tenjoy watching it! But I did want to.

    3. yosempai from United States
      30 Mar 2012, 11:20 pm

      The brilliance of some films is visible on multiple levels. Films suchas Network (1976) and American Beauty (1999) are both satirical, yetthey can be simultaneously viewed as good cinema. Bruce LaBruce's Otto;or, Up with Dead People (2008) is not such a film. It can be read as asatire, Bruce LaBruce's whorish attempt at an instant cult classic, orsimply as an entirely original work of art. Actually, it seems morelike a combination of the three. Otto satirizes the zombie crowd's lustfor films that only have merit for their shock value. In case youaren't familiar with him, Bruce LaBruce is famous for (infamous for?)his no-budget B films. He is one of few directors to have directed aporno and had a film premier at Sundance. Without seeing the film, Ottooften comes across at an extremely misguided attempt to corner a nichemarket—gay zombie horror porn. With that said, the film is neither ahorror film nor a porno. There is relatively little gore, and much lesssex than the right wing IMDb trolls would have you believe. Otto may bea satire; Otto may be an attempt into instant cult status; but in anycase, Otto is art.

      Otto; or, Up with Dead People was shown at the Sundance film festival.However, simply being accepted into Sundance does not mean a film isgood. Otto was also shown at the wonderful MoMA in NYC. Once again,this does not mean that it is a perfect film, but it should be noted inwhat way the film is being perceived: as a work of art. Most peoplewill dismiss Otto as a pointless B movie, but in reality it is notpointless. Otto is one of the most original works of feature lengthcinema from the past decade that I have seen. And this is not simplybased on the subject matter. LaBruce utilizes his distinct style andunique cinematic techniques to make Otto a truly fresh work of art.

      Now onto the film. Otto (Jey Crisfar) is convinced that he is a zombiewho just recently was resurrected. Stumbling around town, he comesacross a flyer for auditions for a zombie movie, Up with Dead People.At the audition, the director of the film, Medea (KatharinaKlewinghaus), is impressed with Otto's commitment to the character.Otto of course truly believes that he is a zombie, while Medea is surethat Otto is just a regular guy who always seems to be exceptionallydirty. Zombies are often presented as allegorical to "the ultimateconsumers who all eat the same things, congregate at the same places,act the same" (Fangoria). With Otto, LaBruce completely reverses thisidea. Otto is a complete outcast. Not only is he a zombie, but Otto isgay. He experiences what is either gay-, zombie-, or gay zombie-bashingand generally not accepted by society.

      Another of LaBruce's interesting cinematic choices is presentingMedea's lesbian lover, Hella (Susanne Sachße) as a silent filmcharacter. Hella is always presented in grainy black and white and herdialogue is even replaced with intertitles. Medea and other charactersare still presented in full color even while the black and white Hellais sitting right next to them. As a film studies major, I am forced toattempt to find the symbolism/hidden meaning behind presenting Hella assuch. However, I have come to the conclusion that LaBruce was simplyattempting to present Hella as a specific type of character from thesilent film era and he does so with clever blatancy.

      Otto is not what most people would consider as entertaining. Otto isnot what most people would consider as art. If you watch the filmthinking that you will hate it, I can guarantee with complete certaintythat you will hate it. Watch this film with an open mind, and don'ttake it too seriously or literally. Network and American Beauty arepraised because they work on two levels. They exaggerate the existingconventions of Hollywood cinema in order to criticize whereas Ottocinematically breaks free of the zombie genre in its criticism. As Dr.Marco Abel would say, whether or not you like the film is irrelevant.Otto is a entirely original piece of art.

    4. teethgrrrinder from Australia
      30 Mar 2012, 11:20 pm

      b-grade gay zombie porn semi-mockumentary. repetitive, irritating sounddesign, jokes milked longer than they should. for some, there's notenough blood and guts. for others, there's not enough porn.

      But all LaBruce's films are bad! that is his charm and the charm ofno-budget Cult Films! if you expect more, you won't be alone. but ifyou expect perfection, then you're a fool. like all those people whocomplained after seeing Tomb Raider or the Super Mario Brothers Movie -what did you expect?

      Otto is fun. it's certainly original. it's gay politics are obvious,but accurate. the jokes range from falling flat to funny to's polarizing, memorable and thanks to Fritz (Marcel Schlutt), it'sdamn sexy to watch.

      Otto needs to be watched at a film festival amongst the typical gayindie films that are more sincere than their film makers can givecredit to. Only then will something like SkinFlick's 'monkey rape' andHustler White 'Stumping' hit you with the full impact that it should

      like SkinGang – can't wait for the full-porno version of Otto

    5. Arcadio Bolanos from Peru
      30 Mar 2012, 11:20 pm

      Bruce La Bruce film is a brilliant analysis of contemporary displacedpeople, individuals who live on the margins of society, groups thatstruggle to obtain validation of either legal or social nature.

      "Otto" is the story of an outcast teenager. Now, there would be nothingoriginal about this except for one detail: In a world in which theliving dead are humanity's recurrent plague, Otto is a boy that defineshimself as a non flesh-eating zombie with an identity crisis.

      From the very beginning, the viewer is aware of a narration inside anarration, in a way that would be comparable to Propst literary models."Up with Dead People" is the movie that lesbian intellectual Medea isfilming, with references to Hélène Cixous views on the essentialbisexuality of L'ecriture femenine, as well as Irigaray's Speculum ofthe other Woman (the mirroring of the female body surmounts feministtheory in this film as Hella, Medea's girlfriend, can only appear onscreen as a black and white image from old reels of 1910-1920 movies,thus enabling a parallel between these two women and even classic andcontemporary cinema).

      In the first scene Otto rises from the grave, a classic image that hastranscended the 7th art and has forever become part of popular culture.Ever since Romero's "Night of the Living Dead" (1968) filmmakers havetoyed with one of humanity's most fierily rooted fears: death or ratherthe question "what happens after Death?". Romero and others have alsoexplored the living dead as a metaphor of social marginality and thereification of the subaltern thus creating one of the most fascinatingsub-genres in film's history.

      This film proudly assumes this cultural heritage and builds upon it. Asthe narrator's voice tell us in the first scenes, these dead peoplehave little or nothing to do with the classic flesh-eating,brain-devouring zombie. Those who are alive judge them as "An echo oftheir own somnambulistic conformist behavior". Normal society isexposed as a tyrannical Lacanian "Great Other", a Great Other thatdemands adaptation or extinction. Insofar heterosexual normative iscarried out the Great Other is satisfied. The symbolic order, thatwhich constitutes what one would perceive as "reality", can neversuppress the "real" (id est, the obstacle of the symbolic order). Butthe real can only exist after the symbolic order (which relies greatlyon language, the widest symbolization process known) has been fullyinserted in everyone's mind. Then, it's only logical that zombies arefinally able to reclaim language and reasoning. If zombies were theoutsiders of past decades, they are now entities that can never fit inand that are constantly aware of their own situation. What can be moredestabilizing for the heterosexual normative than homosexuality takento the extreme?, in this case, a new wave of gay zombies that prey uponmale flesh, in a very carnal and literal way.

      Otto lives, or unlives, eating animals instead of humans. He runs awayfrom those who would seek to harm him. And he finds a way to definehimself thanks to Medea and her movie which is full of theoryreferences. As Medea's brother so aptly confirms, here the subject is"the empty signifier upon which you could project any particulargender".

      Jacques Lacan's psychoanalytic theory derives from Levi-Straussstructuralism (after Saussure and Jacobson linguistic studies). Theywould affirm that certain structures have invariably persisted inhumanity's development. One of such structures is the dual nature oflanguage. When Saussure defined langue and parole he decided that theentire language was nothing more than a system of signs, signs that hadarbitrary value and that would only have meaning in their relation withother signs. If so, the human language can only exist in a dual systemof opposition (signifier / signified: signifier as the acoustic imagegenerated by an idea or object and signified as the word in any givenlanguage that is utilized to retrieve that acoustic image from ourmemory). This fundamental duality has its first manifestation in sexualgender (males versus females). And as Lacan explains, the firststructure one encounters as one enters into the world is that of sex,one is either a man or a woman, no one can be both or neither. Or atleast that's what heterosexual normative would have us believe. Thereis no place for a third sex and has never been one, hermaphrodites andother variants have been utterly discarded by psychoanalytic theory.

      Lacan, nonetheless, accepts in his sexuation graphic that being a womandoesn't necessarily mean to occupy the female position or that being aman doesn't necessarily mean to occupy the male position. He alsoaccepts that the male and female positions have evolved through historyand adapted to social requirements, being a man or being a woman, asgender affiliated roles, is a sign of arbitrariness, in the sense thatthere is nothing human that can be defined as a masculine or femininebehavior. Everything is a social construction. And as such is an emptysignifier. Gender roles are different now compared to recent centuries,or even decades, and they keep changing. Nothing is set in stone.

      Does "Otto" attempt to disrupt the Lacanian structure? Otto hasexperienced idealized love (indisputably visible in his flashbacks as aliving boy), savage and destructive sex with a costumed gay that thinksOtto is disguised as a zombie, and the possibility of a more completerelationship with Fritz, the movie star. He deals with the masculineposition in his first love, he assumes sex as the ultimatemanifestation of a consumer-based capitalist world (to consume andcannibalize are here synonyms), and finally accepts the failure toinsert himself into society (after his brief relationship with Fritz)and wanders towards the north, hoping to find people like him, hopingto find, perhaps, a Utopian gay civilization in which the living andnon-living can finally divert their basic and seemingly irreconcilablenatures.

    6. Justin Stewart from Canada
      30 Mar 2012, 11:20 pm

      It takes a certain caliber of film-maker to approach a genre which wasintended to horrify its audience and, instead, make it amuse and movethem.

      I found "Otto; or, Up With Dead People" to be Bruce LaBruce's strongestwork to date. The plot was both the most linear and accessible, and atthe same time the most convoluted. Even with a lack of chronology, adizzying metafilm of movie within movie, and multiple points of viewand filming techniques, the movie manages to devote more time tostandard plot development than previous Bruce LaBruce works.

      Perhaps this was necessary to reach out to all the viewers on a moreexplicit level, and create empathy for a character, who belongs to agroup of otherwise reviled monsters. It was quite bizarre to leave thetheater relating to characters who had been shown brutally evisceratingeach other in graphic detail.

      But it is this feeling of commonality with a supposedly terrifyingmonster that makes the movie powerful and touching. The equivocalmetaphor that compares conformist society to zombies is more like athinly veiled reality: take away the blood and guts and what's thedifference between the two?

      It goes to show that you don't always need a grandiose and earnest toneto say something significant. Sometimes, the silliest and mostridiculous metaphors are the ones which uncover the most meaningfultruth.

    7. cmp4x from United States
      30 Mar 2012, 11:20 pm

      This IS a serious film. If you get past the gay porn and theexpectation that this will be some zombie thriller (stumbling blocksthat seem to have gotten in the way of many of the reviewers here),then it becomes quite clear that this is NOT primarily a gay politicsfilm, and NOT a thriller.

      For me, the relevance of this film comes through with full reference toLacan and Zizek, who both discuss the different types of desire/drivethat motivate the human subject. Most of us are stuck in thesubjectivity of desire, pursuing our love objects–and losing them–butalways in the grip of the idea that somehow we can have IT. The subjectof desire is always motivated by 'lack' and the attempt to fill in thelack; but the subject of drive is motivated by excess and the wearinessof always having 'too much'.

      In the film, Otto had IT, but as is clear in the scene when he re-meetshis old love, the guy really wasn't all that worth it. But this doesnot lead Otto to attempt to replace his lost love; instead he has therealization that his lost love is infinitely replaceable by any of theclones out there pursuing mindless connections. The scene with his lostlove comes late in the film, but it suggests that some structuralaspects of it were behind Otto's becoming a zombie in the first place.There is a realization that leads Otto to lose his 'desire' and becomea zombie–he lives with the curse that the object of his desire isendlessly repeatable–he is condemned always to having thisrealization, which essentially makes him neither alive nor dead.

      The end of the film suggests that Otto achieves a different kind ofjouissance than that merely had by the 'subject of drive'–but it isonly a suggestion, and Labruce goes no further with it than that. Thisis where I think the film falls short: it is an excellent expose of theemptiness of desire and of the flatness of desire's corollary, drive.But the film does not satisfactorily navigate what lies beyond thedesire/drive deadlock.

      Nevertheless, this film is far beyond most film-schlock of the momentthat never even rises to a decent consciousness of the chains ofdesire. It is a great exploration of the subjectivity of displacementand intimates that that is an aspect of ALL of our understandings,whether we perceive it or not. I agree with the reviewer who calls thisan "entirely original work of art."

    8. alko from Slovenia
      30 Mar 2012, 11:20 pm

      I am quite surprised how most of the reviews I have read areconcentrating on the political, provocative and homosexual themes inthis movie. But I think these aren't really in the spotlight in thismovie. In my opinion, the movie is in essence a tragic presentation ofa how main character's life has been affected by schizophrenia and ofall the movies I have watched, this has been the most authentic andmedically realistic movie regarding this disease. There are tens ofclues that lead us to suspects of Otto's disease – and this is alsoworded by Medeia and Otto's ex-boyfriend at the end of the movie(speaking about his mental disease, not specifically mentioningschizophrenia, but still the diagnosis seems to be obvious if weobserve the major symptoms presented in the movie: he hears noises allof the time, he sees people laughing at him on the train, his socialalienation is apparent, emotional apathy, also the delusion that he isdead is a strong sign of schizophrenia). Otto is not really a zombie -this is only his delusion as a part of his disease. Really tragic is tosee how he is isolated now – his boyfriend has left him when he wasdiagnosed, he is beaten, alone, wandering alone the empty road, noteven recognising his own father. This movie has really touched me,although i wasn't particularly amused with bloody scenes. But I couldeasily forget these and the only thing that really stayed on my mindafter the movie was Otto and his life, which has been superiorlypresented in this movie.

    9. emma-mcnicol from Germany
      30 Mar 2012, 11:20 pm

      Elly belly, you've taken the film too seriously! LaBruce is verygrounded, very modest. Genuine issues are explored but in anrefreshingly 'anti Godard' manner – he just makes fun of everything!Labruce ridicules politicians but also those against them; how being'anti-fa' or 'left' is simply a style or fashion now, (particularly inBerlin), hence Medea, too was mocked when declaring out her 'political'banter.

      Laugh at the sex scenes. Crazy, absurd, funny. Not shallow, either: thepleasure one derives from viewing pornography is thrown in their faceonce mixed with the thrill of the blood and guts of a zombie film.Labruce shows both simultaneously, erections and intestines between thesame sheets. Despite being literally 'bloody', they are by no meansviolent or hate motivated. ''Blood and guts'' is just part of what thezombie lovers get down to in the bedroom! They can also have sex witheach other's (very very very newly created) orifices!! ha ha.

      This is simply a great film, what a deadly cool way to attackhomophobia. Thank god for you Labruce.

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