It’s hard to know what to expect from a film with the title “Peacock” followed by the tagline “Am I Real?” How fitting, as it is also difficult to know what to expect from the film halfway through it.
“Peacock” is a strange film. It follows Matthias, a man who makes a living pretending to be anyone his client needs. Each day he perfectly assumes a different identity, an uncanny ability that leaves his actual wife accusing him of being “fake.” What ensues is a long journey where Matthias tries to find his true self, assuming that a true self even exists.
What makes these misadventures worthy of the big screen is the comedy. “Peacock” has some of the smartest setups and deliveries I have ever seen put to film. The jokes are not especially slapstick or deadpan in nature, rather they are elaborate, satirical commentaries on the nature of art, wealth and the absurdity of its own premise. The scale of these jokes range from little touches that never leave the background of a shot to extended sequences. The film also nails the timing of these jokes. Running gags are never overused, and no gag sits in front of the audience for too long.
A vital instrument to the jokes themselves is Albrecht Schuch, who perfectly captures Matthias’ blank-slate personality. He balances being quaintly sympathetic with exhibiting unbearable naivete in a silly “company representative” performance reminiscent of retail cell service providers. He is also often surrounded by people of a more realistic composition, a foil to his offbeat demeanor that also elevates the comedy of the film. Sometimes he also plays opposite even kookier characters for a scene or two, which also works to great effect in different ways.
Much of the comedy in “Peacock” is also thanks to its societal commentary. Matthias’ career profits off of people’s desire for admiration or wish to game the system, an unethical yet profitable service only a step and a half away from our current reality. Many of the comedic exaggerations of what Matthias’ job entails serve as reminders of just how much modern society clamors for attention and struggles to meaningfully connect. In the age of the internet, we all have a little of Matthias in us, ill-fit to any form of socialization.
Perhaps that is also part of why “Peacock” is as funny as it is. If comedy really is just tragedy plus timing, then how fitting is it that this film toys with some of the viewer’s anxiety about the state of the real world?
Down two theaters and about 30 movies, viewers may assume that the 2025 Milwaukee Film Festival would be weaker this year, and they would be wrong. This year I saw seven films, each ripe for discussion regarding a different element of filmmaking. To analyze each film’s strength I will offer seven separate analyses.
(Image courtesy of Milwaukee Film.)
The West Bend Current 
Leave a comment