“WACKADOODLE” by Håvard Walseth and Espen Olaisen

“Wackadoodle” is a rather unique experience. It is necessary to speak of “experience”, because we are certainly not dealing with a simple film. The upheaval of cinematic archetypes and the revolutionary use of writing techniques make this work a kind of free fall, in which we have plenty of time to reflect, interpret the metaphors and, above all, have fun. In its surreal gait, the story of “Wakcadoodle” reveals in fact a profound connection with contemporary reality. By breaking down any narrative and aesthetic canon, the authors of this crazy film have stripped themselves of the preconceptions and rigid “discipline” of cinematographic construction, opening up to the vastness of all possible inspirations, coming from every area of ​​human experience. And so, by osmosis, “Wackadoodle” has absorbed the linguistic codes, stylistic features and opportunities of an entire generation. If it is perhaps impossible to represent reality, the directors, Håvard Walseth and Espen Olaisen have understood, with irony and sagacity, the expressive power of chaos and ambiguity. The result is therefore a film-manifesto, which rejects clichés, scoffs at reality (often breaking even the fourth wall), in a constant attempt to represent it in every crazy, twisted aspect.

What amazes and makes the film even more enjoyable is the technical mastery with which the film was built. You know, to be fun, something must be credible. The directors know this too. In fact, with a great sense of taste and staging, they build a real style, colorful and “dirty”, capable of accompanying the protagonists on their journey towards entropy. It is rare to see such skill put at the service of self-irony and this can only leave us happily surprised. “Wackadoodle” is a unique film and must be seen, to understand a little better maybe everything, maybe nothing. And however it goes, it was incredible.