| Photo: Nikola Predovic, Courtesy of Searchlight Pictures. © 2025 Searchlight Pictures All Rights Reserved.
Rock operas are a unique type of movie musical, full of flair and drama. They had their heyday in the 1970s, a time when wild humor and glam rock dominated pop culture. But can they still resonate today? Geremy Jasper, who won hearts with his 2017 film Patti Cake$, aims to breathe new life into this genre with his latest work, O’Dessa.
Debuting at SXSW 2025, O’Dessa is a Disney film that captivates with its vibrant visuals. However, it often feels shallow. The characters lack real emotional depth, which is ironic, as the villain Plutonovich (played by Murray Bartlett) is portrayed as deeply flawed. The story hints at themes from the Orpheus myth but fails to capture the tale’s essence, resulting in a familiar narrative where stakes feel low.
The story centers on O’Dessa (played by Sadie Sink). The opening song reveals she’s the daughter of a wandering musician who left her mother. After his death, he sends back his guitar, which O’Dessa buries. Following her mother’s death, she sets fire to their home with her mother’s body inside. This bold act seems reckless, especially given her mother’s earlier remark about their land being rich in oil. With a smirk at a llama, she digs up the guitar and hits the road to find her destiny.
In Satylite City—an eye-catching blend of neon lights and 80s futurism—O’Dessa’s journey begins. She encounters deception and disappointment, a common theme for ordinary characters like her. Through a chance encounter with Euri (Kelvin Harrison Jr.), a glamorous sex worker and aspiring star, she quickly forms a bond. Their relationship is sweet, and in true musical fashion, it blossoms into love—without the usual dramatic consequences one might expect.
Despite its flaws, the film moves along at a brisk pace, balancing drama and music well. Both Sink and Harrison Jr. deliver solid performances; while they may not have star power, they convey a youthful innocence that fits their roles. The supporting characters, including Regina Hall as Euri’s pimp, could have brought more depth but feel underutilized.
The film’s sets are visually appealing, designed in a way that echoes stage musicals while maintaining a cinematic quality. However, some moments defy logic, drawing attention to lapses in detail that detract from the overall experience.
The people of Satylite City seem lost, yearning for something meaningful but uncertain about what it is. While the lyrics are decent, the songs generally lack passion. A climactic number meant to be profound ends up falling flat. It leaves viewers wanting more depth and substance. In a modern era, we need more than mere nostalgia for the past.
O’Dessa’s father offers her a view on life: “A rambler’s reason for being is to comfort the disturbed and disturb the comforted.” What’s worrisome is that the film itself feels too comfortable, missing the chance to push boundaries.
Reviewed on: 09 Mar 2025
