It’s giving Xanadu. It’s giving Hunger Games. It’s giving a surrealist fantasy that takes on a musical ride and ends up becoming a bold story about two star-crossed lovers. The Geremy Jasper film O’Dessa is a genre-blurring odyssey that reimagines the classic hero’s journey through the lens of a post-apocalyptic rock opera. Geremy Jasper is known for creating bold, music-driven narratives such as the 2017 film Patti Cake$.
In the film we meet O’Dessa, a rambler, her lineage, tied to legendary descendants who spread music across the world, and carry the weight of prophecy, one that speaks of a “Seventh Son” destined to bring change with the help of the mystical instrument, the “Willa”. Sadly, O’Dessa meets a ragtag group of stragglers who steals her mystical instrument and she’s on a mission to Satylite City to find it as it’s her last connection to what’s left of her lineage. With her mom’s recent passing, and her father gone, she has no family left.
Within the pursuits of seeking the “Willa” she meets Euri (Kelvin Harrison Jr.) and there is an instant connection between the two. He’s performing at a rock concert and in every movie moment where two characters exchange glances and immediately have their moment this is exactly what happens between Euri and O’Dessa. However, their relationship is challenged by outside forces, namely Neon Dion (Regina Hall) who serves as the city crime lord and gatekeeper to Onederworld where he’s her prized possession. In Onederworld, it’s a city filled with propaganda where a man named Plutonovich (Murray Bartlett), the autocratic overlord, is deified. He exerts sinister control over a game show that is blasted to the masses forced to watch and consume at his evil whim.
Sink delivers a powerhouse performance, embodying O’Dessa’s quiet resolve, expressive intensity, and musical prowess. Her journey from an uncertain dreamer to a force of rebellion is underscored by a killer soundtrack—an essential component of the film’s identity. Harrison Jr. brings depth and vulnerability to Euri, balancing his charisma with a longing for something beyond his gilded cage. Hall, ever transformative, disappears into the role of Neon Dion, exuding menace and control with every word and movement. Bartlett, as Plutonovich, embodies the terrifying intersection of entertainment and tyranny, crafting a villain whose charm is as unsettling as his cruelty.
There were times in the film where I wish we got more of Regina Hall as her menacing and evil character was incredibly fascinating to watch. It’s one of the rare times we have seen Hall take on a role of this magnitude and substance and her screentime in this role deserved to be a bit more complex and nuanced. Granted, the story is focused on the two star-crossed lovers, but the antagonistic element added a dramatic flair that made the plot incredibly compelling and fascinating to watch.
Visually this film is stunning. At times, and this is of course for those of a certain age that may get this reference, but it was definitely giving Max Headroom vibes. The production design is an artful mix of decay and glamor, reflecting the duality of a world where music and oppression intertwine. Jasper’s direction ensures that every frame pulses with kinetic energy, making the film feel like a lived-in legend unfolding in real time. As I mentioned before, the film is truly grounded in its protagonist. This is a film about identity, artistic legacy, and the power of music to inspire change. It’s a thrilling, hypnotic ride that dares to be different, wearing its operatic ambitions proudly.
There’s this unique blend of queerness with Sadie Sink and Kelvin Harrison Jr’s character’s as well as O’Dessa is more of a masculine-presenting female character and Euri more of a female-presenting male character. And that distinction is made later during attire worn during a wedding scene later in the film.
There are times where the film’s pacing drags a bit and the story and the running time could have been cut a bit shorter. As I mentioned before, I would have enjoyed seeing a bit more of the antagonist characters have a bit more of a story arc in this film balanced with the protagonists. Finally, let’s talk about the music. The music is incredible and Sadie Sink truly gives her all with these songs. Kelvin Harrison Jr.’s opening song blew me away. The soundtrack for this film will likely be one that audiences will be talking about for quite some time, there are certainly some tracks that are earworms.
O’Dessa is an audacious, intoxicating vision that cements Jasper as a filmmaker unafraid to dream big and deliver even bigger. The film made its premiere at 2025 SXSW Film & TV Festival and premieres March 20th on Hulu.
