Up There

In this off‑beat afterlife, the recently deceased discover that death is less a haunting and more a bureaucratic waiting room. Fresh from a traffic accident, Martin finds himself thrust into a gray‑toned “re‑start centre,” where newly arrived souls must be ushered toward whatever lies “up there.” The environment is oddly clinical yet peppered with mandatory optimism, group‑counselling sessions, and a strange set of rules that forbid any ghostly interference with the world of the living. The tone balances deadpan humor with a quiet melancholy, hinting that progress beyond this limbo is earned through odd assignments rather than divine grace.

Paired with an exuberant colleague, Rash—a fellow carer who embraces the absurdity of the afterlife with relentless optimism—Martin is tasked with guiding newcomers who are still adjusting to their new reality. Their partnership becomes a study in contrast: Martin’s yearning for upward movement clashes with Rash’s contentment in the present, setting up a dynamic that is both comedic and emotionally resonant. Together they are sent to locate a missing arrival, a mission that nudges them out of the sterile corridors and into a quirky seaside town where the living and the dead intermingle in unexpected ways.

In this coastal setting, the duo encounters a cast of oddly charming locals—a rebellious teen crowd, enigmatic elderly women, and the enigmatic Liz, a living librarian whose presence blurs the boundaries between the two worlds. The atmosphere is a blend of wistful melancholy and whimsical curiosity, suggesting that the answers Martin seeks about moving on may be tied to the hidden stories of those they meet. As they navigate this peculiar town, the film teases the possibility that personal growth, forgiveness, and perhaps a chance at redemption lie just beyond the next turn, waiting to be discovered in the spaces between life and death.

Last Updated: October 23, 2025 at 16:12