O’DESSA Film Review – A Neon Critique of the Entertainment Industry

What is O’Dessa About?

Premiering at the 2025 SXSW Film & TV Festival, O’Dessa is a post-apocalyptic rock opera written and directed by Geremy Jasper. It follows O’Dessa (Sadie Sink, of “Stranger Things” fame), a young farm girl navigating a perilous future wasteland on a mission to reclaim her father’s guitar. Her quest leads her to Satylyte City, a neon-filled metropolis where she encounters her true love, Euri Dervish (Kelvin Harrison Jr.). To save Euri, O’Dessa has to use the power of music and face the ultimate test of destiny – The Pick of Destiny 2.0?

Sadie Sink and a World Built on Song

With O’Dessa, sound is everything. Right from the title card, Geremy Jasper and Jason Binnick’s score, coupled with a thundering sound design, announces that music is the heartbeat of this world. Early on, watching O’Dessa carefully tune her guitar in a wasteland underscores its themes: when everything else is gone, music is one of the only things left standing.

The first song, a folk ballad, gave me genuine chills – not something I was expecting when I walked into the theatre. Sadie Sink’s vocals begin in a Joni Mitchell lane but morph into Dolly Parton territory, underpinned by a raw outlaw vibe reminiscent of Waylon Jennings, Ramblin’ Jack Elliott, or Willie Nelson. It’s more than “just” a rock opera.

Still, most of the emotionally resonant tracks appear early in the film, including a duet from O’Dessa and her mother, bringing us the backstory of O’Dessa’s father, who is shown as a near-perfect reflection of a young Johnny Cash. As we progress, the songs feel less genuine and more a part of the broader entertainment “machine”, which may or may not be intentional.

Visual Storytelling – Dreams and Surveillance

Flashbacks of the past are presented with heavy diffusion and mist, creating a dreamlike, nostalgic state. These crafted memories stand in stark contrast to the harsh, voyeuristic reality of the surveillance-heavy post-apocalyptic present. The camera often functions like an intrusive observer, particularly effective as O’Dessa journeys into Satylyte City.

The city itself vividly critiques modern obsessions – its residents, owning virtually nothing but televisions, are consumed by screens. The satirical programming, like “facejob makeover,” is a not-so-subtle critique of reality TV culture and society’s fixation on superficial beauty.

The Artist’s Struggle and Industry Critique

Despite its colourful face, O’Dessa is actually a sharp critique of the entertainment industry. The struggle of the independent musician is central – O’Dessa faces an exploitative gig in a dingy club, while even established performers like Euri have their earnings drained by those in power, mirroring the control of promoters and agents in our current world. This narrative rings especially true given director Geremy Jasper’s background as an indie musician with his band, The Fever. Euri’s art is compromised, reduced to performing crowd-pleasing tracks devoid of personal meaning. The crowds are more concerned with his presentation as a sex symbol rather than an artist.

Geremy Jasper and Embracing Bold Choices in O’Dessa

As we move through our second act and into our third, Jasper fully commits to cinematic clichés – bright neon lights, over-the-top villains, and the timeless trope of love conquering all. While intentionally excessive, these choices mask the seriousness of the film’s underlying messages. The exaggerated style is tongue-in-cheek, distracting the audience with dazzling absurdity while subtly reinforcing the film’s deeper critiques.

I will say – one highlight in the third act is Dora Dimic Rakar’s hilarious turn as the first lady of Plutonovich, which had me laughing out loud.

Final Thoughts – Cheesy and Fun, But…

Is O’Dessa cheesy? Absolutely. Is it filled with familiar tropes? Undeniably. But beneath its neon surface lies a genuinely thoughtful and biting commentary on the nature of creativity, commerce, and the modern entertainment landscape. Ironically, those most likely to enjoy the film purely for its spectacle may miss these deeper reflections entirely.

Ultimately, Jasper delivers a wildly entertaining ride with some interesting subtext. Come for the art, or come for the entertainment. Either way, there’s a good chance you’ll find something for you.