F*ckin' Fred: Comme un Léopard is a parodydocumentary (mockumentary) directed by Clément Cotentin. Blending fiction and reality, the film follows the incredible rise of F*ckin' Fred (Jonathan Cohen), an electro-kitsch character born of a joke between friends and turned into an unlikely icon of the music scene. AlongsideOrelsan, who plays himself, Jonathan Cohen delivers an eccentric performance, oscillating between absurd genius and sheer delirium.
F*ckin' Fred: Comme un Léopard will air on Prime Video from February 27, 2024.
Synopsis: Warning: all scenes in this documentary are totally TRUE but also totally FALSE.
Born of an improvisation at an Orelsan concert in Switzerland in 2019, F*ckin' Fred is Jonathan Cohen's megalomaniac German-Brazilian alter ego, characterized by an unlikely accent, absurd punchlines and unbridled energy. The film traces the genesis of this cartoonish character, from his first stage appearances to his evolution into a viral phenomenon.
The mockumentary plays with the codes of the music documentary while blurring the line between reality and fiction. As one of the characters states, "All the scenes are totally true... but also totally false."
This approach is reminiscent of films like This Is Spinal Tap or Borat, where satire of the entertainment world is mixed with improvisational comedy.
The film relies heavily on the amazing performance of Jonathan Cohen, who plays F*ckin' Fred with disconcerting naturalness. Overflowing with energy, he improvises absurd lines and totally unpredictable situations, such as when, in the middle of a concert at La Défense Arena, he decides to cook merguez sandwiches on stage... before throwing them at the delirious and completely dubious audience.
Opposite him, Orelsan plays himself with disarming seriousness, trying as best he can to channel the chaos provoked by his accomplice. The contrast between F*ckin' Fred's eccentricity and Orelsan's phlegm makes for hilarious scenes, in which fiction constantly seems to surpass reality.
Despite its improvised nature, the film is thoughtfully staged, adopting the codes of the classic documentary. It alternates between archival footage, on-camera interviews and discreet footage of rehearsals and working moments, reinforcing its authenticity.
Face-to-face interviews capture the reactions of the protagonists with feigned sincerity, while behind-the-scenes scenes, filmed with a handheld camera, plunge the viewer into the heart of the creative process. During stage performances, the filmmakers use fluid tracking shots to underscore the energy of F*ckin' Fred and the sheer scale of the phenomenon. This blend of documentary realism and assumed eccentricity creates a delightful contrast, where the line between the real and the fake becomes increasingly blurred as the film progresses.
Beyond its absurdist humor, F*ckin' Fred: Comme un Léopard offers an amusing reflection on artistic creation and celebrity. Through the lens of this totally delirious character, the film questions how a simple joke can become a public phenomenon, if you believe in it and push it to the limit.
Fans of Jonathan Cohen's offbeat humor (as in La Flamme or Le Flambeau) will be won over. The film will also appeal to Orelsan's fans, intrigued by this completely off-the-wall project in which he plays with his image.
On the other hand, if you're a fan of the absurd or of films with no real narrative thread, the project's improvised and haphazard nature may leave you perplexed.
With F*ckin' Fred : Comme un Léopard, Jonathan Cohen and Orelsan deliver a mockumentary as absurd as it is hilarious, where the line between reality and delirium becomes increasingly blurred. A veritable masterclass in improvisation, guaranteed to make fans of offbeat, second-rate humor howl with laughter.
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