This is the story of Otto, a charming, young, gay zombie with a penchant for bloody sexual encounters, searching for his identity in a world of charlatans and zombie-poseurs. His unabashed authenticity simultaneously impressing and disturbing all who encounter him, lonely and angst-ridden Otto wanders the streets aimlessly until one day he finds himself where many boys in his situation find themselves: in the midst of the Gay Zombie Vampire PoMo Porn scene! (ok, technically no vampirism is involved, but the amount of blood splashed about would do a vampire proud.) Witness heaps of muscle-bound men slithering around in each others bodily fluids, penetrating orifices and other bodily perforations as directed by a masterful young woman, Medea Yarn, and her silent partner Hella Bent. Heavily influenced by Maya Deren and Herbert Marcuse, from whom she is often wont to read aloud, Medea’s films consist not so much in gratuitous pornography as they do a commentary on social oppression and the failure of Modernity to embrace the disenfranchised youth of multiple overlapping minorities, reminiscent of Orwell’s 1984 when read as a keen exploration of homosexual repression engendered by the pseudo-Socialist crucible of a twentieth-century post-war neo-Victorian society and the ensuing vicissitudes that a sudden meta-awareness, or “awakening,” of the oppressed entail. Otto struggles to define himself within the context of available cultural constructions: is he a “zombie” or a “human?” Can he transcend this dichotomy (perhaps a metaphor for the male/female dichotomy?) through love and/or carnal passion? But, disregarding all of the aforementioned profound and convoluted subtext (i.e. my blathering BS), this film can also be enjoyed purely as a bizarre mash-up of various film genres, a veritable tossed-salad of cinematic and literary themes, which results in a refreshingly unique film. “Up With Dead People” is sure to enthrall, exhilarate and provocate.