Brilliant in its inadequacy of cinema, strictly to indie drama lovers Kurt Voss is little known to a wide audience, since his bread is low-budget psychological sketches with some elements of a criminal thriller. Often he is teetering on the verge of complete inadequacy - the territory of fictional and unreal complex stories, which at the same time was chosen for example by director Yuri Seltzer with his psychological thrillers "Eye of the Storm" (1991), "Puppeter" (1994), "Black and White" (1999) and his masterpiecely bad opus "Circle" (2005), where he attempted a tense thriller shot with one plan.
Voss, unlike Zellzer, still did not bring the far-fetched dramatic complexity to the limit, and therefore his films look quite vivid. Such his paintings as Amnesia (1997) and Passenger (1998) look very good, and in their psychology quite believe.
The Horseman is a slow cable independent drama that focuses entirely on the character of Brad Durif. During working hours, he sits in the refrigeration shop of a small store, as a hobby he plays on horse racing bets. In general, he does not communicate with anyone, being an apathetic observer in life.
One day, a couple of informal drug addicts settle in the apartment opposite, who get acquainted with him, sniffing out whether he has any extra money. In the process of communicating with a girl, he has a dilemma - who is closer to aesthetics, a person who uses others for his own purposes, or a person who is detached from all. Solving the dispute pushes the Horseman to kill.
It's a marvelously careless, "sleeping" movie about marginals and their psychological identification. This is not immediately clear, but it is about the individual conflicting voices of a generation of young people, each of whom adheres to its own hierarchy.
Durif’s antagonist is played by the inconspicuous actor Michael Harris, who later also starred in the very controversial cable thriller Seams (1993) and the very cheap horror film Sandman (1995).
10 out of 10
