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Rosse ist zudem nicht der Einzige, der auf den Fall angesetzt wird. Wenigstens hat er eine patente Mutter, die ihm in brenzligen Situationen mit Rat und Tat zur Seite steht. Und in solche Situationen gerät Rosse zuhauf, wenn er versucht, der geheimnisvollen Tatverdächtigen Lana auf die Spur zu kommen, und sich dabei mit anderen Kopfgeldjägern, Bikercliquen und einer verrückt gewordenen Wüstensekte herumschlagen muss.
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Private detective Rod Rosse, the “One Man Posse”, hasn’t had much luck lately – despite his illustrious nickname. But in the nick of time he is assigned the task to investigate an arson attack on a motorcycle club – even though the person who has hired him for the job is Deathface, an ex-wrestler turned senator, though highly dubious. In addition to that, Rosse is not the only one set on the case. At least he has a bold mother who is on hand to assist and advise him in risky situations. And Rosse gets entangled in calamities galore as he attempts to track down Lana, the mysterious suspect, and has to fend off other bounty hunters, biker gangs and a crazed cult in the desert. The title is already a hint: directors Bill Plympton and Jim Lujan have reassembled clichés from American pop culture to create their own fast-paced story with a range of madcap characters. It is therefore not surprising that the two pay their respects to Quentin Tarantino in the film credits. While cartoonist and animation filmmaker Plympton created the fusion of hand-drawn images and computer animation reminiscent of American underground commix, Jim Lujan not only scripted the film, but also synchronised the numerous characters whose slang characterises the film. Their black-comedy view of an American society turned upside down celebrated its world premiere at the L’Etrange Festival in Paris and was honoured with awards at the festivals in Houston and Nashville. (sch)
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