Norwegian director Thea Hvistendahl reunites former The Worst Person in the World co-stars in her feature-length directorial debut, Handling the Undead. Renate Reinsve and Anders Danielson Lie star in this visually bountiful character study that explores the liminal state between life and death. Adapted from the book of the same name by John Ajvide Lindqvist, Handling the Undead is an untraditional horror film that, unfortunately, never truly hits its stride due to prioritizing general aesthetics over character analysis.

It’s summertime in Oslo, and three families go about their day as if it were any other. There is a palpable tension in the dynamic between Anna (Reinsve) and her father Mahler (Bjørn Sundquist), their coldness leads us to assume there are conversations that need to be hashed out but rather, have been avoided. In another part of town, David (Lie) and his wife Eva (Bahar Pars) prepare for a date night, leaving the kids at home for some alone time. The third simultaneous storyline we encounter is of Elisabet (Olga Damani), a single older woman who lives alone. All three families receive the shock of their lives when, unexpectedly, a supernatural event occurs and resurrects their deceased loved ones from the grave.

The supernatural horror is subtle and the reactions from those affected by the strange events are eerily quiet. It’s not necessarily an awkward silence but more an act of restraint. This non-stereotypical outburst makes Handling the Undead feel more arthouse-leaning than traditional horror. Composer Peter Raeburn does a great job of filling the void with atmospheric tension in his sweeping, piercing score. Taking advantage of Oslo’s beautiful landscapes and sense of organic surroundings, Handling the Undead is also a respite for the eyes. It’s almost dreamlike in its ability to capture a specific mood, thanks to the phenomenal work of cinematographer Pål Ulvik Rokseth. His use of colors and shadow play adds further meaning to the bizarre situation that the three central families find themselves in, which they process with both skepticism and delusional happiness.

The film’s weakness comes from the underdevelopment of every character’s backstory prior to the day of the event. Seemingly an intentional dismissal by the director, it is difficult to contextualize the emotions of the characters throughout this traumatic experience because we don’t know them, so we are left to assume too many things. Unfortunately, the lingering questions about who these characters are can distract from the artful construction of the world that Thea Hvistendahl has built through methodical camera movements and the strong, highly sensitive performances from the lead cast.

Despite the contextual deficiency, Handling the Undead excels in world-building. It leaves the viewer with a lingering sense of unease while artfully juxtaposing against visual beauty. Before its premiere at the Sundance Film Festival, NEON had acquired Handling the Undead and has set a theatrical release in Norway for Friday, February 8, 2024.