The Eleutheromaniacs is a political satire directed by Dave Greber and written by Brandon Meginley.
The creators have envisioned an alternate, local-cable reali-TV show
that is saturated with advertisements, stock footage and fake blood. It
has taken the CNN/YouTube debates as its primary instruction and turned
local politics into pure, unadulterated reality entertainment TV.
Greber and Meginley have, in essence, rebuilt a half-hour, Reality TV
program, as it would have to be executed with a very low budget, on
local television, with producers whose motives are questionable at
best. The film insinuates the incestuous nature of politics and
commercialism and envisions a political debate where viewers can never
hear a candidate's position on an issue, because time restrictions
demand that the show break to commercial.
In Merica Parish, two contestants remain in the competition for the next commissioner.
A host introduces the two indistinguishable candidates, Sir Huckleberry
Waffleshoe and incumbent Fred Coal. The debate is underway. They are
asked questions by guests and from videos sent via the internet. As the
candidates struggle to respond and continue to perpetrate the illusion
of their distinction from each other, there is another force at work,
behind-the-scenes. An insurgo-terrorist Activist-Anarchist has
infiltrated the debate. Her intentions are to reveal diagrams that she
found in Sir Waffleshoe's bedroom. The diagrams portend world
domination through the use of a microchip, or so she thinks. Sir
Waffleshoe struggles to counteract her assertions but fails and must
reveal the truth himself. In the end, a new truth is revealed, but it's
not what you may think.
The film uses colorful and inventive editing to mimic and augment the
form of television advertisements, political debates, and reality
television. By co-opting these all too familiar forms and twisting them
in a new and imaginative way, the Eleutheromaniacs becomes a political
satire that is both fun to watch and insightful. It's also something
else. A dreamscape? Perhaps. But it may be more accurately described as
painter and contributor Evan Riehl Reyer so succinctly put it after
watching a rough-cut of the film: 'It's like a [expletive] nightmare.'