“Sonya, an old maid is about to give up on herself until one day, she meets a corpse in her family’s embalming business that changes her life.”
Another North American premiere at Fantasia International Film Festival 2019 is that of Ode To Nothing. The slow burn of creepy factor launches this film into skin-crawling territory. The setting alone is horror movie gold. A family mortuary? Besides My Girl, when does anything fun and happy occur? Hell, even with a mostly delightful plot, the end of My Girl still makes me bawl my eyes out every damn time I watch it! “He needs his glasses! He can’t see without his glasses!” *Cue ugly cry* Anyhow, Ode To Nothing takes the family business and infuses humor as it transitions to the unsettling. As Sonya runs the business, the mystery body becomes her confidant. The reality of her loneliness becomes next level when she takes this unknown woman’s body and treats it as her own personal best friend. I don’t know if it’s sadder or more upsetting. Imagine you find a lost dog and take it in and begin to love it. You treat it like it’s your own knowing full well that at anytime the owner could show up to claim their dog. Now replace the dog in that scenario with a dead body. Yeah, it’s just as weird as you’re picturing. The audience is unsure if it’s supposed to laugh at the lunacy or cringe at fact that both father and daughter act like this is totally normal. Therein lies the brilliance of Ode To Nothing. The film’s framing feels reminiscent of a vacation slide. We often peer through a window, a door, or watch a scene in the reflection of the mirror. It’s simply beautiful. The dialogue is unexpected in its intimacy. If you can separate yourself from the odd, the number of monologues that Marietta Subong has are stunningly performed and wonderfully honest. As the body decays, this family’s life blossoms. Ode To Nothing is something special in its eccentricity.