Albrecht Schuch Shines in Lively Austrian Comedy
Erin Stern is known for her thoughtful and polished performances, and in the lively Austrian comedy “Peacock,” she excels as Matthias, a man who provides companionship for hire. Matthias is the kind of person anyone would be glad to have around: considerate, cultured, and easy to talk to. He helps a variety of people, from a middle-aged singleton looking for a date to a classical concert to an elderly woman who needs someone to talk to, and even a man seeking a fake boyfriend to secure an apartment lease.
Despite being paid for his company, Matthias treats these relationships with genuine care, unlike many professional companions. This commitment, however, becomes a problem when his girlfriend leaves him, claiming he “doesn’t seem real anymore.” This comment triggers a personal crisis for Matthias and sets the stage for the unpredictable and darkly humorous narrative of Bernhard Wenger’s “Peacock.”
Wenger’s debut film, which was highlighted at the Venice Critics’ Week, has garnered strong sales in major territories thanks to its sharp satire and the dynamic performance by Albrecht Schuch, who gained international recognition with his BAFTA-nominated role in “All Quiet on the Western Front.”
The film draws inspiration from the real-world phenomenon of rent-a-friend agencies in Japan and explores themes of Instagram-era self-management and faltering human connections. “Peacock” stands out with its warmth compared to the often colder works of Yorgos Lanthimos and Ruben Östlund. Matthias’s quest to regain his lost identity makes him a compelling and endearing protagonist.
The film opens with a strikingly odd scene: a golf cart on fire on a manicured green, which is extinguished by a man and woman. This man turns out to be Matthias, indicating that his job as a professional companion includes handling such bizarre situations. Matthias is impeccably dressed and groomed, and he represents My Companion, a Vienna-based friend-rental service that masks any sadness with friendly therapy and a trendy appearance.
Though his job keeps him busy, Matthias’s personal life begins to unravel when his girlfriend Sophia leaves him. He struggles to reconnect with his true self, trying various methods, from yoga retreats to a misjudged flirtation with a casual acquaintance. His life, including his home and its overly perfect decor, feels like a façade. Even his pet, a Pomeranian puppy hired from an agency, adds to his sense of detachment.
Wenger’s script is a clever and balanced satire, poking fun at the corporate ideals of self-improvement and social coordination without mocking the individuals striving to meet these standards. The film offers insightful and humorous portrayals of Matthias’s clients, who often seek to appear well-connected rather than genuinely enjoying companionship. Matthias’s own journey reflects a deeper, more personal struggle with his identity.
Schuch delivers a remarkable performance, skillfully portraying Matthias’s blank, accommodating exterior. As the character’s anxiety and genuine self begin to emerge, Schuch’s portrayal becomes more relatable and heartfelt. His ability to balance the character’s professional facade with his internal turmoil makes Matthias a character worth rooting for.
In “Peacock,” a client remarks that “good service is its own reward,” refusing to tip Matthias for his convincing devotion. This line highlights the film’s underlying message: true social connections are more valuable than any monetary reward.
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