Within the cinematic substratum known as ‘arthouse filmmaking’, this little piece – known as “Die Letzte Rache” (a.k.a. “The Last Revenge) – is pretty much that exemplary representation of the independent, idiosyncratic, symbolism-laden ‘art film’ that will typically turn off the average, not-so-wide-ranging-in-taste, film goer. Personally, I’m always on the fence when it comes to films like this cuz I’m not a hipster, art-fag film-school dickbag who pretends to correctly interpret movies like this and take away some kind of deep sentiment from all the fuckin’ “nuance”. I guess that IS kinda part of the “fun” of these kinds of films; if you are willing to watch a movie and actually THINK about it a little bit and there are art films that have done that for me. But, for the most part, I’m usually just checking these out for the out-of-the-ordinary VISUAL experience.
So, the plot of this is a total cluster-fuck of nonsensical imagery, over-acting and humor. It starts with a guy laying in the desert. Some chick shows up, who I think is his sister. She says some romantic stuff that doesn’t make sense, then we cut to another guy walking through the desert for a while before coming across a trio of singing Venus fly traps (or maybe they were clams, I don’t fucking know). After finding out that they aren’t ripe enough to eat, he keeps walking and finds a big V-shaped building full of robotic fish that houses an old guy in eyeliner who sends him on a mission to find him a new heir since his son is gone. We then cut to a more urban setting where the guy finds three promising fellas whom he deems worthy, but they are all promptly murdered (or, at least, a couple of them are), leading a crazed detective to take on the mysterious case. Meanwhile, the old guy shows up and back-stabs the guy working for him (who seems to run the entire city) and has him thrown in jail. There, he meets up with a mad scientist and the movie pretty much just coasts to a sudden ending…
The film’s style echoes the German expressionist films of the silent era, mainly “The Cabinet of Dr. Caligari”, with over-the-top movements and gestures, crazy make-up and crooked, crudely painted/constructed backdrops. Basically, it fits the bill as 100% ‘arthouse’ craziness with a pretty directionless structure and completely random scenes. It shifts from drama to comedy and there is also a few weird, lighthearted songs thrown in. I really don’t have anything else to say on this one. If you’re a fan of uber-strange Neo-expressionism and/or art films, this’ll probably intrigue you.
– Gorepump