The model of sacrifice Within two hours, a session of the anatomy of classical repression will unfold in front of the viewer. The case will bring together an ordinary journalist and a police officer. One word, then another, and we get arrested. A few heartfelt conversations and now a murder charge. But will there be recognition?
And the evidence base? And the lawyer? And the process? Much more precisely the words of the tired prisoner A. Papanov, who reassures our poor fellow by explaining that everyone is guilty and he needs to prepare for a long prison life.
This is reminiscent of the Kafkaesque trial, but the authors seem to insist on exposing the Western judicial system. The tape is full of ironic arrows at each of the representatives of the justice system. And judges, and policemen and lawyer and prosecutor. Everyone is forced to go against their principles. Moreover, the death of a knowingly innocent person can greatly help in the realization of political ambitions.
The film was created in the format of a television show. Good play contrasts with special propaganda napalm. Everything is too sad in our story. And this one-syllable accusation does a disservice - it loses its sharpness. After the first hour, it does not matter if the prisoner is released.
At the same time, in the second plan, it seems that the performers and creators of this tape tell us something completely different, far from propaganda. Thus, in Papanov’s words and play, one can easily see hidden prison rhymes that are not related to the Western paradigm. In the end, the topic of injustice and repression became too large. So it wasn’t enough to just denounce, stigmatize. . .
The format of the TV show dooms this tape devoid of fun to fade. Several wonderful acting outputs (Papanov, Plyatt) do not make the film more interesting, but only add significant notes to the actors in the filmography.
3 out of 10