Axolotl Overkill

This film is so jam-packed with youthful energy that it leaves everything else behind. The result is a hyper-theatrical whirlwind of youth with all its defiance, arrogance and egocentricity. After all, self-centeredness is the alpha and the omega of Axolotl Overkill, as the narrative has no other logic beyond the fact that all of the film’s scenes revolve around the main female protagonist. Therefore, the film never puts forth any anchoring framework that would let viewers know whether the scenes presented to them are reality, dreams, fantasies or the wishful thinking of a teenager in the era of lifestyle and hypermedia. The label of controversy and provocation is unavoidably applied to the film and the novel on which it is based, but it merely points out a generational rift. At the same time, the protagonist’s life, or rather the idea of it, does not illustrate the apocalyptic quality of today’s youth. On the contrary, it ideally depicts her attitudes and the extent of her relationship with her surroundings, which comprise her own youth at the given time. If we relate Axolotl Overkill to the current generation of adolescents, it can actually be said that if at least part of the young generation is really seen in this way, then that is positive. A refreshing aspect of the film is its open approach to sexuality without taboos or demonisation and the ignoring of traditional concepts of gender and family organisation. The protagonist, Mifti, does not sigh for some boy, nor does she deal with the dilemma of how to arrange her future. Rather, she simply and unrestrainedly enjoys everything that the world or her imagination places in her path. Then there is the other side of the coin showing that she is spoiled, mocking and, thanks to being provided for, completely isolated from the socially existential aspects of life. But that is essentially the definition of any young generation. (14.07.2017)

Being in my fifties, I can afford the luxury of comparing several generations. My parents grew up in the wild 60s and were able to enjoy puberty and adolescence even in modest communist conditions. True, there were no hard drugs, but they indulged in vices regardless. My sister and I grew up in the 80s and early 90s and we were already holding back significantly. For my children, even the occasional glass of wine is something decadent, and my parents would be shocked by their approach to a healthy lifestyle. I feel that we aren't significantly different from our generation. Yes, we still keep up with the drinking world, but it's really not what it used to be. Individuals who have self-destructive periods of adolescence have been, are, and will be here, but I didn't feel at all that the film conveyed something like a generational statement or said something about the young German generation. It's simply about genetic predisposition and perhaps the background of an unbalanced girl. However, the film was too fragmented and incohesive for me to deduce anything from it. Additionally, I became increasingly indifferent to it with each passing minute. The first scene of the driver's monologue in the car warned me that the film was going to be too pretentious for my taste. I either believe in the film and its characters or I don't, and I only need the first 10 minutes to orient myself in it. The creators didn't tune into the wave. Overall impression: 35%. (10.06.2021)

It feels like both a screenplay and life chaos, with the main character being somewhat unbearable, but rebellious youth might find something to relate to in her. All that frenzy and provocation is lifted by a superb soundtrack, which was to be expected. (50%) (04.07.2021)