Geremy Jasper’s O’Dessa attempts to blend rock opera with dystopian storytelling, but its sprawling narrative and overstuffed plot leave much to be desired. One of the film’s standout moments occurs when the titular character, O’Dessa (Sadie Sink), is forced to craft a new guitar from scrap parts after her prized instrument, inherited from her father, is stolen and pawned. Unable to afford its return, she takes matters into her own hands. This moment, while emblematic of the film’s handmade aesthetic, is one of the few sequences in O’Dessa that feels complete and grounded, unlike many others that begin with bold ideas but fail to deliver on their potential.
With more than a dozen original songs by Jasper and Jason Binnick, O’Dessa introduces a dystopian world where a singer emerges as a beacon of hope. Unfortunately, the film rushes through the development of its characters and settings, offering little opportunity for deeper exploration. The central narrative thread—the journey of a young woman finding her voice—echoes Jasper’s 2017 debut, Patti Cake$, where a similar outsider connects with a fellow misfit. Here, O’Dessa finds her counterpart in Euri (Kelvin Harrison Jr.), and together, they embark on a journey of self-discovery.
However, while Patti Cake$ found resonance in its familiar New Jersey setting, O’Dessa struggles to make its dystopian backdrop compelling. Satylite City, a decaying ruin that serves as one of the last remaining strongholds of civilization, feels alien and disconnected from any recognizable reality. This world-building is further muddled by the film’s portrayal of O’Dessa as the heir to a family legacy, symbolized by an ancient guitar named the Willa. Despite the traditional image of a country troubadour—embodied by O’Dessa’s visions of her father in rural attire and her own rockabilly look—her musical style veers more toward rock and pop, creating confusion about her true identity as a symbol of liberation.
The film’s energy, particularly during musical sequences, is undeniable. Sink commands attention with her performance, but the narrative’s rushed pacing undermines emotional depth. O’Dessa and Euri’s romance, for example, feels more obligatory than organic, with little time to develop a genuine connection before the film moves on to the next chaotic setpiece. One such moment occurs when O’Dessa is forced to compete on a reality show called The One, where Euri is imprisoned by its tyrannical host, Plutonovich (Murray Bartlett). While the concept of a power-hungry TV star as a deity in this dystopian world holds some potential, the film never fully justifies Plutonovich’s god-like status beyond his omnipresence on screens.
Despite the film’s passion and ambition, its narrative remains fragmented. The production design and performances are striking, but the overwhelming backstory—hinted at but never fully explained—feels like an untapped reservoir of ideas that the film cannot adequately express within its limited runtime. Regina Hall’s appearance as the flamboyant crime boss Neon Dion, complete with electric brass knuckles and no eyebrows, highlights this disconnect. Her character is a prime example of the fascinating world O’Dessa introduces, yet the lack of exposition leaves audiences wanting more.
As O’Dessa premieres on Hulu just a week after its debut at SXSW, the film’s potential may be better appreciated in bite-sized form. The most exhilarating moments, particularly the audacious performances and musical numbers, might find new life as TikTok clips, where fans of Sink and Harrison can share the film’s highs without needing the context of the larger, often muddled narrative.
In a final symbolic twist, Plutonovich sabotages O’Dessa’s performance by reducing her guitar to a single string. Unfortunately, O’Dessa itself feels similarly constrained, as it repeatedly strikes the same note without ever finding a satisfying resolution.
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