Veneciafrenia

Thoroughly enjoyable, fun and very dark film.

The film follows a bunch of young tourists from spain as they venture in the magic and mysterious streets of Venice.

The film will have you laughing quite a few times but also it'll have you rooting for the main characters, who will become very human and close to your heart.

The photography and production design is superb as well as its original soundtrack.

Cosimo Fusco, the main antagonist plays two different characters and it's just delicious.

This is a great film that seems half role play game and half slasher. Contains elements of classic Italian and Spanish horror films.

Date to watch it, I promise it won't bore you at all.

Veneciafrenia works better when it leans into the slasher with the beautiful Venice and its costumes as backdrop, but falls hard when it tries to focus on the main conspiranoic plot of the film, becoming something completely different and far less interesting.

But not so bad as some reviews points. Too many loose ends asking to be developed. Yet thinking if this is some critic to Italian police. Lots of murders but they´re always one step behind. An interesting movie about globalization.

The worst? It´s almost impossible an italian policeman speaks spannish. And so passive.

The best. The concept. Scary. Indeed. Make us think twice if we should visit Venice.

That's a big point in favour of this movie.

Álex de la Iglesia's Veneciafrenia, on paper, is a film right up my alley. It is one of those vacation-gone-awry films that works when it's being a pure slasher, and fails when it tries to be a lot more. As someone who lives on the other side of the world, the initial scenes centered around protests in Venice towards ocean liners (and the thousands of Instagram-happy tourists they bring) was news to me, which I had to Google more about. The concept is intriguing, and works fine for a slasher. The protagonists are your typical not-so-likeable tourists who'd do anything just to have a good time, and it was difficult to get behind any of their antics. At times, they're plain stupid. In a film like this, it's mostly the antagonists that you're eyeing. The creepy jester is a scary addition to that universe, and so are the rest of them in masks.

But I wish we didn't have to know so much about them. Retaining some level of mystery around these angry locals would have made it more enjoyable. There's a bigger conspiracy at play, and except for some of the jester's carelessly-yet-magnificently executed savagery, the thrills are lacking. Pablo Rosso's cinematography work captures Venice in darker tones, which is apt given the plot. The ending is also rather tame - you expect a BANG, but turns out, it's just a whimper!

The Spanish director is very critical this time and he is fundamentally right: Venice, this jewel, has become an amusement park; it is the tragedy of mass tourism that is being targeted. Hence the idea of making Veneciafrenia, a slasher, this subgenre of horror in which the murderer, generally with well-founded reasons for having become one (or, at least, with some defense for his revenge), kills by the most savage methods young people who only think about having fun, fornicating, drinking and taking drugs, without looking for a moment at the environment in which they live or at the people or things that surround them. A slasher which, as the genre dictates, has the main aim of entertaining.

However, the film only half succeeds. The contrast between the classic Venice of the carnival, baroque, colorful and disproportionately brilliant, and the vulgar attitude of this gang of thirty-something Spaniards, three women and two men with youthful pretensions and adolescent stupidities, who stumble upon the worst journey of their lives, is too strong for us to believe it. Giallo's notes in the treatment of colors and the nuances of certain characters, confer a certain welcome ghostly vision to the whole with the obvious reference to the great "Don't turn around" by "Nicolas Roeg" from 1973, as a model to follow to present not a beautiful, sublime city, but a city that is frightening, because it is old, ugly and decadent.

"Veneciafrenia" ends up failing on both fronts: that of the rejoicing of terror, and that of the critical vision of the fact of society which was nevertheless an excellent starting point. This does not prevent some beautiful flashes like the opening credits, truly magnificent. The terror based on Opera with the excuse of the character of Rigoletto was also seen well. The black humor works at times but is poorly balanced with the terror of the Giallo. All of this lacks relevance and ambiguity: the general tone is strange due to the different parts that never really stick together (between the half-funny gore slasher and the satire-criticism with a certain message) and a disappointing ending.

It's well filmed, we recognize the touch of "De la Iglesia", but the film lacks a little this frenzy which, ironically, sometimes blurs certain works of this author. The protagonists are walking clichés. The villains much more interesting.

Barely an amusing film where we feel that "Veneciafrenia" is missing out on something that could have been memorable.