The highly controversial film about necrophilia was seized by authorities in Munich 12 days after its release,[2]: 78  an action that had no precedent in Germany since the Nazi era.

[4] The film begins where the first one left off, with a flashback to Robert "Rob" Schmadtke's suicide, whose corpse Monika retrieves from a church's graveyard after the opening credits.

The body snatcher is depicted with a particularly feminine appearance: red nail polish on her fingernails, pencil skirt and polka dot blouse.

Meanwhile, Mark heads to his as-yet-unspecified job, and the film then cuts back to a scene of Monika undressing Rob.

Mark's job is thereupon revealed to be dubbing porn films, and this scene foreshadows the next, in which Monika has sex with Rob's corpse.

She tearfully saws the corpse of Rob into pieces and puts them into garbage bags, saving just his head and genitals.

This discovery, combined with Monika's desire to photograph Mark in positions that make him appear dead, plants doubts in his mind about the relationship.

The soundtrack, by Hermann Kopp, Daktari Lorenz, John Boy Walton and Peter Kowalski, is neither ironic nor campy, but rather is intended to generate genuine emotional response.

The serious intent of the film in general is made clear in an interview in which Buttgereit discusses an audition in which actors performed the love scene with Rob's corpse: "Though they were all quite willing, none of them took it as seriously as we did.

The parody film has a nude man and woman (Wolfgang Müller and Käthe Kruse) sitting outdoors, eating numerous boiled eggs and conversing on topics of ornithology.

[4] While some accuse the Nekromantik films of being "little more than 'disappointingly witless' and 'morbidly titillating' attempts 'to disgust the most jaded conceivable audience'",[7] there have been positive reviews as well.

Film critic Christian Keßler writes that "Jörg Buttgereit is the only person in Germany who manages to dedicate himself to these darkest of subjects with this much charm".[5]: ??

Literature and film critic Linnie Blake argues that these movies are not only more thematically complex and technically sophisticated than is popularly supposed, but share a set of artistic and ideological concerns more usually associated with the canonic authors of the Young German Cinema and the New German Cinema of the turbulent years of the 1960s and 1970s".

This has been accomplished by an ostensibly morally upstanding member of society who subsequently disappears from view, unpunished for his crimes.

Buttgereit's mission, it seems, is to embrace that corpse, and in so doing to raise the question originally posed by Alexander Mitscherlich, Director of the Sigmund Freud Institute in Frankfurt, as to why the collapse of the Third Reich had not provoked the reaction of conscience-stricken remorse one might logically expect; why, in Thomas Elsaesser's words, 'instead of confronting this past, Germans preferred to bury it'.

[3][8] Kai-Uwe Werbeck writes that Nekromantik 2 is a "a critical commentary on the status quo of Germany’s postwar media politics."

[9] In June 1991, Munich police confiscated the film, leading an interviewer to ask Buttgereit "How does it feel to be Germany's most wanted filmmaker?

[6] In July 1992, there was also a police raid in the residence of Manfred O. Jelinski, and the policemen confiscated anything remotely related to the banned film.

[12] Cult Epics released the film in a limited edition on February 10, 2015, on DVD and Blu-ray Disc in the United States.