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In a future Germany that's sinking into chaos, Javid (Reza Brojerdi) and Tan (Erkan Acar), small time crooks who are at times a bit too trigger happy, are out to avenge the death of their families, holding former police chief Winter (Gedeon Burkhard) resplonsible - but at chaotic times like this, people, even people of prominence, are not easily found. And then the two of them find a screenplay that tells their story to the t, including all their dialogue. First they think they've been spied on and track down the man who wrote it, dentist and hobby scriptwriter Arend (Alexander Schubert). But then they find out the script's actually pretty prophetic, and since they die in the end, they try to force Arend to change it.

Eliana's (Xenia Assenza) parents have been killed in a restaurant massacre, and she has sworn to avenge them. So with the help of her bodyguard Carson (David Masterson) and Carson's mad father with a God complex Caleb (David Gant), she hires one after the other three teams of serialkillers, Polish brothers Bolek (Adrian Topol) and Dariusz (Antonio Wannek), businessman-like hitmen Rashid (Selam Tadese) and Fumo (Eskindir Tesfay), and neo-Nazi Reinhart (Bruno Eyron) and his robot army - but neither of these teams are a raving success to be sure. Oh, and the men she wants to have her revenge on are of course Javid and Tan.

Javid and Tan of course receive help along the way as well, be it from clueless superhero Hyper Electro Man, or angelic bar singer Snowflake - but still, it's inevitable that their mission takes them on a road to utter disaster ...

Basically, Snowflake is a film of the "What the fuck"-category: It's freely floating between genres (including crime, horror, science fiction, superhero, fantasy, thriller, comedy) using as many pulp mainstays as it can along the way to twist them to mostly ironic results, it pushes absurdity (within its narrative context) to new heights without ever really losing the plot, it's told in a violently non-narrative way that somehow makes perfect sense nevertheless, and it doesn't hold back when it comes to violence, yet doesn't rely too heavily on it. And for most of the time it manages to stay away from cheap jokes or too blunt social commentary. The outcome is a very fine stew that might not be for everyone, but the cult movie crowd will be sure to love it.

review © by Mike Haberfelner

 

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