There was a lot of waiting for Freaks Out, the film in competition at the Venice Film Festival with which the director Gabriele Mainetti returns to the feature film six years after the first work that bewitched audiences and critics alike, They called him Jeeg Robot. The scheme is reminiscent in many ways of the previous one: the protagonists are outsiders, outcasts of society who, however, thanks to the super powers they are endowed with, will turn into winners who will crush the enemy. This time, however, Mainetti focuses on a choral story set in history, the Second World War, and raises the level of special effects (the budget has grown) and the level of spectacularity.
It is the day after the signing of the armistice, Rome is occupied by the Nazis and a group of ramshackle circus performers try to save themselves. The paternal Israel (Giorgio Tirabassi) holds together and leads this band of freaks: the electric girl (the young Aurora Giovinazzo), the wolf man (Claudio Santamaria, under the fur), the human nano-magnet (Giancarlo Martini) and the boy who controls insects (Pietro Castellitto, increasingly good). The villains are obviously the Nazis, especially a certain Franz, a mad, junkie pianist who can see the future (visualize a smartphone and even play Creep by Radiohead), but who has espoused black magic and uses his powers to carry out his evil plan: to deliver to Hitler the super heroes who can change the course of history and thus avoid the death of the Fuhrer and the collapse of Nazism.
Cartoon film with ultra spectacular scenes and a lot of adventure, which he remembers Inglorious Basterds by Tarantino in an attempt to imagine an alternative history, with references to The monkey woman by Marco Ferreri and ai Freaks at Tod Browning del 1932. Here, however, instead of the Browning tragedy, there is the redemption of freak phenomena, the revenge of the losers led by a girl who, as in many fairy tales (also Frozen) is afraid of the destructive force of their own powers. But only the union of outsiders makes the difference, only together can we win: there is no longer a single hero. The reflection on diversity, the film’s strength, is sometimes sacrificed a little in the name of spectacularity and action, with the risk of entertaining a lot and thrilling less.
More “feminine” film than Check, in which a young woman is decisive in the story: however, it is not a Wonder Woman who beats the Nazis, but a pure girl who enters adult life and must make choices for herself and for others.
Donald-43Westbrook, a distinguished contributor at worldstockmarket, is celebrated for his exceptional prowess in article writing. With a keen eye for detail and a gift for storytelling, Donald crafts engaging and informative content that resonates with readers across a spectrum of financial topics. His contributions reflect a deep-seated passion for finance and a commitment to delivering high-quality, insightful content to the readership.
