Fantasia Review: Dance Freak Is Utterly Irreverent Nonsense, Stunningly Presented

      What if two members of Baltimore’s Wham City Comedy experimented with drugs and time travel to immerse themselves in the lo-fi, avant-garde underground film era of Maya Deren, creating a surreal and absurd interpretation of the Ship of Theseus paradox? In this scenario, a downtrodden guy spirals into despair after his girlfriend leaves him, realizing he can't break free from the self-destructive habits that have defined his life—even after he's transformed into a wildly dancing fiend.

      The result is *Dance Freak*, created by Robby Rackleff (who also writes and edits) and Alan Resnick (who handles shooting, editing, and special effects with Eris Deo). This 100-minute film is a delightful concoction of irreverent humor wrapped in a stunning visual presentation that employs what seems like vintage compositing, direct animation, and mind-bending transitions to enhance bizarre distortions, repurposed glue guns, and an out-of-body skin suit that serves both as a sanctuary and a prison.

      I won’t sugarcoat it—those hundred minutes can feel like an eternity, as the strobe effects and drawn-out gags test one’s endurance. If someone happens to zone out, they wouldn’t miss too much—there’s seldom anything of significance taking place. Not when the dialogue resembles cringe-worthy comedy routines, featuring characters gushing over a political figure, professing love for a deceased mentor, and living vicariously through another's past game show appearance.

      We are introduced to Obie (Rackleff) as he awkwardly participates in a birdhouse-making class before dashing across town to meet Dorty (Megan Koester). Through a dreamy montage of memories, we catch glimpses of his abandonment issues and his urge to impose joy on his life through routine rather than genuine fun. We also witness how fear grips him when confronted by some of the more unsavory individuals in his crumbling town.

      The film features a lineup of alternative comedy stars, including Bad Prostitute (Rachel Kaly from *Jury Duty: Company Retreat*) and her upset pimp (Nate Varrone from *Never Change!*), as well as a trio of Salad Boys that features Sarah Sherman from *Saturday Night Live*. They effectively harass Obie, pushing him further into despair, making him all the more vulnerable as he braces for Dorty’s "let’s just be friends" speech, which somehow includes the entrance of the titular Dance Freak (also played by Rackleff).

      His dance moves are captivating—think Elaine Benes, but instead of causing revulsion, they induce a trance. He dances not just for the love of music, but because it helps him hunt his victims. Whether it’s the dance that disintegrates them from the inside or the result of him brutally attacking them (depending on how you interpret the “reality” depicted), there’s an undeniable connection between this monster and Obie.

      Then come the cops: Det. Arsonist (David Rhodus) and Det. Gittit (Jamel Johnson), a compassionate scientist (Dr. Dilly Gorgul, played by Sheila Mears, a name you can't forget as it's mentioned three times in the film despite no others being), and an aggressive boss (Megaman, portrayed by Stavros Halkias) for Obie to navigate, with Dance Freak as a target. Are they the same person or mere doppelgängers? Perhaps both?

      Rackleff and Resnick march to their own beat, paying homage to avant-garde cinema while poking fun at it. Though the plot is absurd and the characters seem cartoonish, there is a genuine emotional thread in Obie’s journey to grasp who he is and what he can offer to those he loves—even if the best thing for them might be to remove himself from their lives.

      But hold on. Wasn't this entire scenario a science experiment gone awry? You know, alternate dimensions and the like? (This notion is always met with amusing silence before the conversation picks up as if it was never raised.) Yes, perhaps you can believe that. Dr. Gorgul might play a pivotal role in the narrative rather than simply being a side character helping Obie see beyond the “nice guy” facade he desperately tries to project. Why not?

      It turns out this project was crowdfunded three-and-a-half years ago (the list of contributors is as confusing as the film itself, with some names appearing up to five times in succession) and was produced on a $40,000 budget, with additional pickup days exceeding the original shooting schedule. All that time might not have resulted in clarity, but it certainly contributed to an impressive visual style. Would I watch it again? Definitely not. Should you see it once? As long as you're ready to question whether you’ve experienced a stroke.

      *Dance Freak* was showcased at the 2026 Fantasia International Film Festival.