2.5 This is something I should have liked but I didn't. The story is interesting but with a poorly written script and bad pacing, it just turned out quite dull. It's hard to empathise with Olga even if I can actually relate to some of her cynical sentiments about society and human. Something off with the acting, like she is too conscious and aware.
Cool B&W. Yet, I was hoping for a more tender and sensitive movie. Even revealing Olga's sexuality added nothing but provocative images (dancing with unbuttoned shirt [nothing underneath, of course], cunnilingus [yeah I get it], etc). In the end I just couldn't wait for the incident, which made me feel like a cold-hearted b*tch. The letter was heartbreaking, though.
I hate this. The main character is ^insert every cliche about edgy antisocial teen^ and the cinematography is ok at best (just because it's b&w it doesn't make it good). The message of this movie is as subtle as a fucking brick through your window. Also, having a character being so open about their sexual orientation in '70's communist Poland when gays were being thrown in jail it's just fucking stupid and ignorant.
The pacing was off, especially with how quickly the beginning of the story flies by, giving us little time to take in who she was or what she allegedly went through. Other than that, Michaliny does an amazing job capturing the detached and stoic murderer that Olga eventually becomes.
"I’m clueless about Olga Hepnarova. While granting that modus operandi really isn’t that important, I just can’t get into vehicular slaughterers. It seem too mediated, like using remote explosives (too hot). And knives stray too far from the whole “mass” aspect (too cold). The aesthetic of pistols tends to be just (sic) right." - Adam Lanza, who shot 20 children at Sandy Hook Elementary School on December 14, 2012
Olga is a detached character, detached from the film, detached from the viewer, coming from and heading towards nowhere. A Czech Columbine massacre in a cinematic language that fails to reveal or emphasize Olga's inner struggle, one that cries despair while we are offered a tedious, detached and shallow portray. Imho the director's miscalculation in terms of style should make him seriously rethink his day job.
Self consciously composed & cripplingly slow. The consistent use of static, lingering, shots creates a depressive detachment to even the most intimate scenes, but there's a total lack of engagement within the narrative. Olga limps through life with a constant glare that neither endears, nor repulses. Too often the slow pace & stalling shots lose our attention. There's some wonderful compositions, but that's about it.
I love the photography reminiscent of Ida but if this is removed, the film is weak on script and the characters feel shallow. A real mess, better but reminiscent of the mess in The Tribe. Watch the first half only for the female nudes and the stunningly good looking female body scenes. And tell me what the point of the second half is.
Exactly expresses the bleakness of living in the Comecom countries behind the Iron Curtain and the general rage suppressed by the Communist States and their Secret Police Services.The film portrays the dead hand of socialism that today is evident in my home city of Manchester UK after decades of single party,Labour party socialist rule.Manchester today in 2016 looks like any pre-1989 Warsaw Pact capital.
Rather teenage in its depiction of some of the events leading up to Olga's rampage. Not entirely convinced by the performances, and the aesthetic (predictably and unnecessarily b&w I think) seems overly second hand. Very slow for a 106 minute film, but has a certain something nonetheless (at least if you like east-central european misery films as much as I do).