Director:
Lloyd KaufmanGuión:
Brandon BasshamCámara:
Lucas PitassiReparto:
Lloyd Kaufman, Kate McGarrigle, Amanda Flowers, Debbie Rochon, Dylan Greenberg, Frazer Brown, Monique Dupree, Zac Amico, Nadia White, John Patrick Brennan (más)Sinopsis(1)
Mad scientist Prospero (Lloyd Kaufman) runs away with his blind daughter Miranda (Kate McGarrigle) to Tromaville, hiding from evil pharmaceutical execs, including his own sister Antoinette (Lloyd Kaufman… in drag!) who ruined his career after he found the cure against opioid addiction. With the help of a handicaped crack-whore (Amanda Flowers), he releases a massive amount of laxative to whales, while his enemies are on a cruise ship to North Korea. A humongous shitstorm washes the boat away and brings them to Tromaville. Prospero can now fully realize his ultimate vengeance. (Fantasia International Film Festival)
(más)Reseñas (2)
Sobrecarga de Troma. El director Lloyd Kaufman ha utilizado la obra del bardo de Avon para hacer una declaración amplia y oblicua sobre todo tipo de tendencias modernas, e imagino que incluso los aficionados hastiados de este peculiar cineasta quedarán debidamente abrumados por esta «shitstorm» dadaísta y bastante literal. En cualquier caso, es un espectáculo entrañable para quienes saben qué esperar del legendario estudio indie Troma. [Cosecha de otoño FOD 2021]
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Viewers leave Troma’s Shakespeare's Sh*tstorm with their heads wrenched in disbelieving astonishment at all of the current trigger issues that Kaufman and co. dared to dig into. Troma has always prided itself on its absurdity and excess, but despite its noisy coarseness and lack of seriousness, it has also prided itself on inclusivity, even at the time when inclusivity had not yet been profaned and bastardised by the major Hollywood studios in the interest of generating publicity and profits. It is thus no wonder that Kaufman is now taking shots at everyone and everything, because his former supporters and heroes have paradoxically become his opponents. At first glance, it may seem that with the new film, Troma is merely attempting to replicate and combine, in mutant form, its two most successful efforts, the non-PC musical satire Poultrygeist and Tromeo and Juliet, an imaginative adaptation of the Bard's classic. But since the creation of these cult films, times, moods and attitudes have changed fundamentally in relation to the rebellious production company and its style of humour. The idea of adapting Shakespeare’s The Tempest (about a betrayed castaway who plots bitter revenge on his former loved ones) thus reveals the self-reflective meta-level of the film. But for Kaufman, it isn’t about people falling to their knees and celebrating him. His goal is to reclaim his position as a provocative clown on the fringe, whose humour disgusts, outrages and evokes sympathy in equal measure.
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