VENICE 2021: Freaks Out
VENICEChaotic, controversial, entertaining, and harrowing: these are all the feelings that are undeniably felt after viewing Gabriele Mainetti's Freaks Out. From what begins as an idyllic and conventional romanticised drama soon turns into the beast of a dour and often thematically explosive feature, even if far too long for its own good.
Granted, this is where the first part of the 'controversy will arise, because writer-director Mainetti and co-writer Nicola Guaglianone use this very allegory in quite a keen fashion with a strong literal connection to holocaust imagery and plot. Described as an Italian period piece X-Men of sorts, director Mainetti transports the viewer into a time where feeling different is a death sentence and wrapped around more of an on-the-nose allegory of difference in utilising the 'gifted'; the director succeeds in creating an immersive and emotional experience. However, the the feature almost refuses to state literal moments of Nazi's rounding up, killing those who are different and haunting train sequences taking Italian Jewish people off to concentration camps. The X-Men comparisons are thick and fast, with the opening to Singer's original X-Men as well as X-Men: Apocalypse, using the concentration camps in a literal key sequence. The tone and acceptance of showcasing such themes and sequences will be divisive, even though the intentions of Mainetti are in the best of interests – clearly on show with Jewish iconography utilised throughout. The combination of fiction meets non-fiction might be too much for some.
Others who can stomach or accept such inclusion will be left to distinguish and be immersed in the sense of humour that Nicola Guaglianone and Mainetti implement in their feature. Said humour is consistently left-field and eyebrow-raising yet constantly fun and peculiar in all manners of the word, delivered through tongue in cheek references, slapstick, sexual and farcical nature. Understandably, this is yet another hurdle to get over for the audience, and while not as heavy or as commanding as the above iconography and overtones, this type of humour is often a release to the darkness that the film often revolves around.
Thankfully the performances manage to brilliantly curate and craft immersion and character regardless of the roller coaster tone throughout. Aurora Giovinazzo as Matilde stands as the emotional weight of the feature and wonderfully orchestrates a fabulous performance with tender depth and empowering range. Franz Rogowski pops up as the antagonist Franz, a nazi experimental doctor who, with his 'visions', can see the future of the Third Reich as well as the ambitions of humankind. Rogowski's performance is incredibly immersive and rich, with a great deal of range provided in spiralling internal turmoil.
Nevertheless, some of the narratives within Freaks Out go a little wayward and lead to little in return. Many are somewhat tricky to identify if in place for comedic purposes, political undertones, or stories. Notable sequences involving Rogowski's character ultimately come down to this with a plethora of subplots that add up to little, aside from the tough running time clocking in at 144-minutes. It would be apparent to anyone that the running time is ludicrous in telling this story, and the weight is felt not in small amounts of fat here or there but literally thirty minutes of excessive story in which the feature proclaims to be a fourth act of proportions.
