Veneciafrenia (2022)

De La Iglesia’s *Veneciafrenia* utilizes the iconic setting of Venice to launch a visually kinetic, if narratively messy, genre exercise centered on the perils of overtourism. The film immediately establishes a lurid, saturated aesthetic, effectively transforming the city into a claustrophobic, decadent trap, fitting its core theme of cultural exploitation. However, the initial promise of sharp socio-political satire quickly dissipates, replaced by predictable slasher mechanics and a relentless commitment to maximalist gore. While the direction maintains a signature manic energy and the production design is often striking, the screenplay sacrifices character development and sustained suspense for escalating, often repetitive, visceral shocks. Ultimately, it is a highly uneven effort: a visually arresting, chaotic descent that fails to coalesce into a cohesive or truly frightening piece of horror cinema.