From the opening scene of Arend Remmers Snowflake, or Schneeflockchen which is a much better word, you are aware you could be in for something really special.
Our two protagonists, Tan, Erkan Acar (“The Key”, “A Time Of Vultures (Short)”), and Javid, Reza Brojerdi (“Homeland (TV)”, “Immigration Game”), are sat extolling the virtues of the humble kebab. I say they, Tan is the one who’s happy to be eating the kebab, right up until Javid says he hasn’t tasted anything worse and why does Tan keep bringing them to these dumps.
As the camera pulls back from this Tarantino, Pulp Fiction-esq opening, we see even more influences from the man himself. These influences don’t stop with Tarantino either, there’s a surrealism and metaphysical feel to things that brings Charlie Kaufman to mind.
Snowflake, still prefer Schneeflockchen, is one of the best films I’ve seen in sometime. Hilarious as it is dark, violent as it is thoughtful, a blood-soaked revenge comedy-thriller involving hit men, a man who believes he is god and a scriptwriting dentist.
We’re in the not-so-distant future, Berlin, where the economy has collapsed and mob-rule, well, rules. The police ask you to call back later because the lines are busy and firemen don’t show up when there’s a fire.
This latter point is important as it’s the whole reason Javid and Tan are out for revenge. As they hunt the man they hold responsible for killing their parents and siblings in a fire, Eliana, Xenia Assenza (“Goodbye Berlin”, “The Dark Valley”), with the help of her trusty friend Carson, David Masterson (“American Renegades”, “The Last Station”), hunt a bunch of hitmen to take out Javid and Tan, for reasons that will become clear when you watch the film.