The film opens where the previous installment left off, beginning with a flashback to Robert "Rob" Schmadtke's suicide. Monika quietly retrieves his body from a church graveyard after the opening credits, carrying it into her apartment in a way that seems almost inconspicuous despite the macabre burden. The corpse wears a strikingly feminine look—red nail polish on the fingernails, a pencil skirt, and a polka-dot blouse—a detail that underscores Monika's unsettling fixation. As the scenes unfold, tabloid headlines flash across the screen, hinting at how she first learned about Rob and his activities.
In a parallel thread, Mark heads to his unspecified job, a setup that will soon foreshadow the next bizarre turn. The narrative then revisits Monika as she undresses Rob, tightening the focus on her unusual relationship with the dead man. It’s revealed that Mark’s work involves dubbing porn films, a detail that casts a surreal backdrop to the forthcoming events and foreshadows Monika’s urge to pursue intimacy with Rob’s body.
Betty, Rob's ex-girlfriend from the first film, appears briefly to discover that Rob's grave has already been robbed, a discovery that adds to the sense of things spiraling beyond ordinary life.
Monika’s attempt to connect with Rob in a physical sense ends abruptly: she fails to reach an orgasm, the moment ending with her rushing to the bathroom in disgunt. After she cleans Rob’s corpse, she photographs him using her camera’s self-timer, a ritual that blends affection with a disturbing curiosity. The story then shifts to Mark, who plans to meet a friend at a movie theater; when the friend is late, Mark offers his own ticket to a passing stranger, who turns out to be Monika. The two of them strike up a carnival-date dynamic, and Monika chooses to “break up” with Rob’s corpse as she opts to pursue a real-life relationship.
The darker turn intensifies as Monika tears the corpse into pieces, discarding most of it in garbage bags while saving the head and genitals. She stores the genitals in her fridge, a chilling detail that will echo through the rest of the film. She later shares a photo album with Mark, filled with pictures of deceased relatives, sometimes shown in coffins, hinting at a longer, inherited pattern of loss and detachment.
The relationship between Monika and Mark deepens, and they have sex, though the experience is far from satisfying for her. Mark spends the night at her apartment, and in the morning he discovers Rob’s genitals in the refrigerator, heightening his suspicions and prompting him to seek advice from a tardy friend and a drunken bar patron about what’s happening between them.
Soon after, Monika and a circle of necrophiliac friends gather for a movie night at her place, with Rob’s severed head placed prominently on the coffee table. Mark arrives with a pizza, abruptly ending the gathering as Monika hides the severed head and her guests depart. When Mark presses to know what they were doing, she reluctantly reveals the seal-dissection video they had watched, a revelation that fills him with disgust and anger.
A trip to the ocean follows, during which Monika contemplates her next move and the possible consequences of her actions. When Mark returns the next day, they attempt makeup sex, a moment that culminates in an even more shocking act: Monika decapitates Mark and replaces his head with Rob’s severed head. The act satisfies her in a brutal final moment of climax.
The film concludes with a doctor congratulating Monika on her pregnancy, signaling a disturbing new chapter in this unsettling storyline.
