Othello

I can't imagine this movie having a producer -) "What´s on your face?"

It's as if I saw a big red official stamp through that movie "Approved by the commission as part of a program to popularize Polish national history". It's a shame that this film ends with the audacity of trying to rip off a late-Quentin Tarantino plot schema about a bomb under the dining table. Otherwise, it's a standard Netflix-like production on all sides. That is to say: stereotypical characters, clichéd situations, and interchangeable visuals. When a bloody historical thriller looks just as bland as the hilarious comedy series 1670 at first glance, I see it as a problem. I feel it's a pity to get rid of the mumbling, evasive, drunken film language of Eastern Europe in favor of the instant readability of quantitative filmmaking. At the same time, I also think that translating historical events into a genre language is a completely fine idea, but when it completely loses its roots, it just seems boring and sexless. It makes sense why some of our conservative viewers pamper themselves with contemporary Polish cinema compared to the supposedly insufficient Czech stuff (with exceptions like the impotent Waves). In Poland, the film managed to mostly humbly adapt to demand, asking for gangster films like Women of Mafia and those erotic dramas like 365 Days made just according to Western templates. Fortunately, Czech cinema is now engaged in appealing experiments and thinking about the language of film. Through Forest Killer, Mr. and Mrs. Stodola, Girl America, Banger, or Calm in the Canopy, Czech cinema is turning out a bit more bold and defiant in a charmingly more cinematic way.

The more I think about the concept of a slasher from the perspective of a constantly walking antagonist who enters into the classic storyline of killing teenagers at a rural cottage in its various phases, the more I find it great. This is where Chris Nash's feature debut becomes more challenging for me. Long walks in the forest and the killer voyeurism of future victims of ultra-brutal murders can genuinely captivate the viewer, if done a little bit differently (by the way, I believe that a home screening is more rewarding in this case than any "midnight" public screening with lots of drunk people who simply can't keep up). However, when something needs to be pulled together quickly, it clangs dreadfully (the sad murder of a girl doing yoga), and the overly sharpened digital image is truly awful at its worst, while at its best, it makes you search for whether there's a video game where you could actually play as a slasher killer.