His first feature film, Mutant Action, already took the side of the rebels in the fight against aesthetic and ideological standardization. But since the grandiose The Last Circus, Álex de la Iglesia's cinema has clearly been contaminated by the ambient anger. From the belligerent demonstrators of My Big Night to the downtrodden of Caught in The Bar, his filmography senses the rising discontent and uses it as fictional fuel. So it is with this paranoid slasher film, doped with the fascinating essence of Venice and infused with its mercantile deviation. Under classic appearances, Veneciafrenia questions the genre with relevance, and treats its troubled issues with a heavy hand.