Cleo is an outstanding exterminator from East Germany in the years before the fall of the wall. In her latest mission, the young and beautiful Cleo is sent to kill a man in West Germany, and as always she does her job perfectly.
When she returned to her home in the East, she is accused of treason for a reason she does not know, her senders deny her, and she is sent to life imprisonment. After three years in prison, the wall separating German women falls, and Cleo, along with all the political prisoners, goes free. Now Cleo sets out to find the person who framed her and to understand why, and above all to take revenge.
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But the creators of the series had another desire: they didn’t just want action. They wanted an aroma of something different. Something that will sometimes be funny, that we will look at and admire, that in certain moments will remind us of the great Tarantino. They wanted to, but they didn’t succeed. Sometimes Cleo kills and leaves the kill area while reciting poetry. At other times, at the beginning of a punching match, she stands in her place with a ceremonial stomp on the ground in the style of the legendary sumo fighter Yokozuna.
Since she doesn’t like sleeping alone, she goes to a disco and drags away some fuzzy guy, who he claims came from the planet Sirius B, and whose goal is to bring techno music to the world. Cleo forbids him to leave her house, and the fuzzy (the gimp?) obeys her and spends his days smoking dope.
Watching this strange series shows mainly the lack of commitment of its creators to any familiar humor and drama. There is no satire here, nor slapstick, nor simple humor per se. There is a lot of pointless weirdness here. A reasonable viewer will sit here in front of the screen, scratch his head and ask himself, what is going on with all the pixels here? Why are the people on the screen acting like this? The answer is of course obvious: no one knows why. Mainly the creators of the series.
See or give up: not see. A difficult test even for Bizarre fans.