We are delighted to be partnering with Dublin International Film Festival (DIFF) once again and working with the Silver Screen Critics as they comment on this year’s programme. In this article, the critics give their thoughts on Peacock.
Mutale Kampuni
Peacock or Chameleon – one or the other, at the same time, or both at different times? That is the dilemma faced by Matthias (Albrecht Schuch) in his job at a Rent-a-Friend agency, ‘The Good Companion’. Here, he has mastered the art of impersonation and is happy to oblige anyone. This might be a single lady needing a date to a classical concert; imparting combat tactics to an elderly married woman who can’t talk to her husband; pretending to be the pilot father of a boy at a school open day; masquerading as the other half of a gay couple; to posing as the highly cultured son of a wealthy businessman intent on securing even higher successes among his elite circles and network.
Over time, Matthias is unable to distinguish between his real life and the dictates of his work, leading to a breakdown in his relationship with Sophia (Julia Franz Richter). She points out to him how meaningless his life is as he is all about appearance and no substance, a people pleaser who never wants to rock the boat or cause offence. In spite of this, Matthias is incapable of seeing that he has lost his nature, personality and connection with feelings and eliminated all emotions. He is unable to switch off, Sophia cannot take any more and leaves him. From there his lonely life unfolds before him and he begins to question his very existence. Seeking solace at a yoga retreat, he meets Ina (Theresa Frostad Eggesbø), but is paranoid that she may have been hired to play a role.
Interesting, if somewhat contradictory, when during an interview with a prospective employee, Matthias and his colleague David (Anton Noori) tell him they are not looking for an actor, but someone who can step into form as himself. Matthias presents as distracted in his work and this is noticed by clients. He loses control and reaches a crisis point which leads him to cast off the fake identities in which he now sees himself as an imposter. He strips back the layers holding him down and celebrates newfound freedom in acceptance of himself in his own skin.
On one level a comedy, on another a satire, Peacock draws the viewer into a journey of introspection, reflection and questioning of who they really are. The humorous aspects are interspersed with issues of identity, social status and appearances of affluence, expectations of perfection (success equals a high functioning life). These all combine to redefine the fine line between fiction and reality. Where does one draw this line?
Writer and Director Bernhard Wenger explains how he got the idea for making the film during a trip to Japan in 2014. He came across Rent-a-Friend agencies which seemed to be a widely accepted norm and had been in existence there for over twenty years. People could rent friends, family members, partners or anything they did not have in their life.
When Wenger returned to Japan four years later to carry out some research, he spent time with an employee of one such agency. This person expressed to Wenger they had reached a point where they were totally confused as to who they really were. The character of Matthias was thus incarnated from this encounter. Wenger states in an interview, that the premise of the film is ‘…not an abstruse dystopian construct, but rather an imminent reality I’m worried about.’ He goes on to say that he’s influenced by Scandinavian cinema and British black comedy, and that the film boasts ‘very visual humour’ and places characters into ‘weird situations we are all familiar with from everyday life.’
At certain points in the film, a peacock is placed in position. It is described as a beautiful animal that can present itself stunningly; showing off its plumage, it struts around, but there is not much underneath this façade. It doesn’t like to fly, doesn’t have a beautiful cry and there is no substance to it. Much like Matthias. The chameleon which changes colour depending on its environment is also placed in the film as a symbol expressing numerous identities without favouring one over another.
Peter Bodie
Peacock is a charming movie that poses more questions than it answers – “Am I real“? Matthias (Albrecht Schuch) is the co-owner, and main actor, of a unique agency. This is not a conventional agency for professional performers, here the roles are much more improvisational and demanding. They require skill and concentration, as the performers are expected to play cultured fiancés, devoted sons, or knowledgeable concert attendees for their well-heeled clients in social situations.
Matthias excels at his job, and his feedback ratings are always superb. However, all is not well in the real world for him. After stepping outside his comfort zone and accepting an especially challenging role, the line between reality and fantasy begins to blur. Matthias struggles to juggle his work and real-life commitments.
As Matthias, Schuck ably displays a convincing range of facial expressions and body language that capture astonishment, ultra-confidence and bewilderment. A young Peter Sellers would have relished the role. This story walks a familiar path, examining the issues that highly creative artists often face as they balance the joy of performing a fantasy and with staying grounded. How exactly can an actor differentiate between this ‘imagined reality’ and the other kind?
There was a curious sense of restraint in the telling and pacing of the story. A more free-flowing, impromptu approach would have been welcome. That said, the film ultimately succeeds as I did feel for Matthias and his travails. I hope everything works out for him. Either he’s lost his mind or he hasn’t, and I’m not really sure which.
Peacock screened at DIFF on 28th February 2025.
For 11 unforgettable days in February, Dublin transforms into a vibrant hub of cinematic excellence as the Dublin International Film Festival (DIFF) brings the best of Irish and international cinema to the capital in a celebration of storytelling. The festival welcomes lovers of film, dreamers, and curious newcomers alike.
From world premieres to intimate screenings, exclusive Q&As to parties and celebrations, DIFF offers a unique journey into the world of cinema — all set against the buzz and energy of the Irish capital. It’s a contemporary cinema experience that connects communities, ignites ideas, and inspires a lasting love for film throughout the year.
Read more about the work they do here or submit your film here.
