As a seasoned cinephile who’s spent more time in the dark than most people do in broad daylight, I must say that “Peacock” is a film that truly left an impression. It’s not every day you come across a black comedy that manages to be as sharp, witty, and poignant as this Austrian gem.
Thoughtful, refined, courteous, patient, attentive listener, easy on the eyes: Matthias is the sort of man most people would be pleased to spend time with. In return, he enjoys spending time with most people too: a middle-aged single person invited to a classical concert, an older married woman who finds it hard to talk to her husband, or an individual his age who needs him as a pretend boyfriend to secure a rental agreement. While he is being compensated for his companionship in all these scenarios, he never lets that affect the care he gives – a situation that might become an issue later on, when his girlfriend leaves him in frustration, complaining that he “feels fake now.” This comment causes Matthias to question his identity, leading to a crisis of selfhood that provides the unexpected plot twist for Bernhard Wenger’s excellent dark comedy “Peacock.”
A promising and engaging first work from its Austrian filmmaker, this standout at Venice Critics’ Week has garnered strong sales in significant regions due to its sharp, universally appealing satire and outstanding performance by Albrecht Schuch – the German actor who gained international recognition with his BAFTA-nominated role in “All Quiet on the Western Front.”
The film “Peacock,” which draws from the surge of rent-a-friend services in Japan, offers a unique exploration of Insta-lifestyle control and deteriorating human connections amidst social media saturation. Despite being likened to the works of Yorgos Lanthimos and Ruben Östlund, it presents a distinctive viewpoint that stands on its own. The protagonist, Matthias, is more relatable and appealing as an antihero, struggling to rediscover his lost personality.
The story begins mysteriously, depicting a golf cart engulfed in flames on a well-manicured lawn. Two individuals rush onto the scene, putting out the fire using extinguishers, then celebrating their bravery. One of them is Matthias, who seems unfazed by this unexpected event, suggesting that he’s accustomed to handling emergencies. He serves as both the CEO and the charismatic spokesperson for My Companion, a Viennese firm that specializes in providing companionship services. Despite any underlying sadness or tackiness associated with the business, My Companion markets itself using cheerful therapy-like language and a vibrant, youthful design.
Matthias seems to have a thriving career, judging by the sleek, contemporary home he shares with Sophia (Julia Franz Richter). However, with his numerous professional engagements and accompanying tasks – like pretending to be a child’s pilot father for a school event or preparing a speech for a lavish 60th birthday party – Matthias finds himself with increasingly fewer hours in the day to simply be himself.
After Sophia leaves him, he struggles to connect with who he is, as attempts to rediscover himself – from high-priced wellness retreats to a misguided flirtation with an acquaintance (Theresa Frostad Eggesbø) – only intensify his disconnection from contemporary social norms. Even his home feels alien, filled with puzzling plumbing problems, decor that’s impeccably perfect (thanks to Katharina Haring’s clever production design), and a miniature Pomeranian puppy he rented from an agency. (“Thanks for calling Rent-a-Dog – good boys only.”) A significant change in his lifestyle will be necessary for him to find himself, but it may not be beneficial for his professional life.
Wenger’s script is subtly crafted, cleverly satirizing corporate and capitalistic concepts of self-improvement and teamwork, without mocking those who feel obligated to these ideals. This nuanced perspective is apparent in its insightful, quick-sketch character portraits of Matthias’s clients, who crave companionship more than they desire it, or in its witty yet empathetic portrayal of Matthias himself – a complex character, potentially a great guy if he could only find the courage to step up.
In a remarkable comedic act filled with clever physicality and hidden emotional turmoil, Schuch skillfully portrays the polite, professional personas of his characters at first, making it seem like an effortless act. However, as the character’s anxiety grows, his carefully rehearsed expressions and movements start to falter, resembling static on a TV screen. This makes him appear less polished, less perfect, and more endearing. A client tells Matthias early on that “good service is its own reward,” refusing to tip him for his convincing devotion. This may be a cheap dodge, but it’s also a valuable lesson: “Peacock” teaches us that true social contracts are often thankless and demanding.
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2024-09-01 15:48