Bohdan Mirike made his debut as a feature film author in 2016 with the film dog. Quickly and rightfully rewarded with awards, the most important of which is the one received in Cannes, in the section Some respect. Action dog it was placed somewhere, in the village of Dobrudzhi, located very close to the border with Ukraine,” wrote an important critic such as Andriy Gorzo in the October 2016 issue of the magazine. Fireplace that “the film has some atmosphere synthesized from the novels of Cormac McCarthy and from thrillerMore or less American indie which exoticizes the regions of the South, West, or Midwest of the United States in an ominous absurdist tone.”

In April 2023, the name of Bohdan Mirike returns to the credits of another thriller, which this time takes place in Bucharest. But no, not in the luxurious bars and not in his grand hotels. Bucharest, and especially the border areas, louches Metropolis means the space in which the story about Boss.. Bucharest with its dirt streets, its miserable bombs, its marginals, its initially small criminals who suddenly turn into criminals victims he overcomes this city both in his personal car and in an ambulance driven by Daniel Bohdan. Participant of a large-scale capture, which has all the signs of being planned on blood. What else? The perfect heist!

A planner, that is boss, who will not appear until the final part of the film, considered all the possibilities. He has taken into account all the possible unknowns, he realizes that others can always intervene, so he imagines solutions imposed by the variable that Bohdan himself represents. The robbery went according to plan, according to plan, only there was an extra victim. The woman was injured by an ambulance driven by Bohdan. Who, being a beginner in robbery, does not know the fundamental rule that says that the ideal criminal limits his actions as much as possible after the fact. Bohdan made the mistake of stopping the car in which he and the rest of the gangsters were, and thus the woman, while still conscious, had the opportunity to see their faces. And after that, after this first mistake, Bohdan relapses. Too much comes from anonymity. Break the rules nothing to do Expectation.

Naturally, the news about the robbery is reported on the News. No, not in Professional television. And Andrei Eska doesn’t even read it. A clear indicator that Bohdan Miricha is not only very smart, but also does not want cheap solutions or success. Or firsthand. No, Bohdan Miriche does not want to look at the audience, and he does not allow the actors to do so. Otherwise, the director avoided filming hold on, the story begins only after that. Everything is based on one thing hic et nunc. Not a single word bossy analepsis or prolepsy. No mention of intrusion into the past of the characters. Bohdan Mirike does not want either Balzac or Chekhov. He does not delve too much into the past of the characters. It doesn’t say when or how Bohdan met a beauty named Karla, or why he has a strained relationship with his parents (yes, but we learn that he didn’t become a doctor), or how he ended up in it. in robbery bossy he is not looking for strong, fake sensations at all costs. Which is not to say that the film doesn’t contain dynamic, hard-hitting scenes with lots of adrenaline. Everything is calculated, the director clearly possesses the mind and rigor of a mathematician.

Spreading news of a theft creates fear. This is the main feeling – mood-on which the entire film is built. A film that purports to be an in-depth exploration of evil. Broadcasting the news, how it came out on the station, presents another problem. The information is not completely reliable, does not contain the exact number of the guilty, and this omission does not seem accidental to Bohdan. Hence, says Camus, un pourquoi s’This isitiswill beThat is, another reason for fear. The main character has an intuition that someone is rewriting the script of the robbery, that he has the science of predicting events. And this someone is The fourth. I mean the Boss. It is not known whose search Bohdan is starting.

The boss wants the overly curious and insensitive ambulance driver gone. However, two other accomplices – a certain Relu and a quasi-mysterious Ion, Trajan or Vasile – and a female witness disappear. In the chess game formula, everything is consumed, all moves are unexpected, bossy becoming a kind of scheme of mind games. Which always allows the cancellation and reformulation of the ratio of winners and losers.

Time management is thought out in the film. Or, more precisely, about the pace of the story. A crescendo of facts. Its success is facilitated by Roxana Zel’s editing. The story becomes more complex, more lively, more exciting. The director, it seems, counted on the audience’s patience from the very beginning. Nothing seems to happen for more than 40-50 minutes. The film focuses on psychological analysis, on actions driven by fear, a fear that excites everything, activates and appreciates Bohdan’s extraordinary intelligence, also wonderful, internalized, nuanced, admirable gradations of silence and consequences interpreted by Laurentiu Bănescu, at least in his first part, is mainly one of it. Or in these first 40-50 minutes, the viewer is invited to familiarize himself with himself hero. Or an anti-hero please. With the world, with its complexes, with its weaknesses. Karla, his occasional girlfriend (Ioana Bugarin, always in red, often provocative in moments that seem to quote censored and partially deliberate passages from Basic instinct) the one who feels his weaknesses, the Father (Theodore Korban), a simple, humble person, an apologist, I make mistakes compromise as a principle of existence, these are rather characters with the function of spotlights. Whose purpose is to highlight the mixture of fragility and hardness of a young man with a razor’s mind (some lines seem to try too hard to reveal the cleverness of the character), it is not known how he failed in the ambulance profession. the driver When the stubborn and risky pursuit of the Boss (the invisible one The fourth) acquires the scope of obsession, the rhythm changes, the characters of Sergio Kostake and Tom Cousins ​​contribute to its dynamism. The soundtrack also becomes more noticeable, more relevant, shocking images appear more and more often, some with an undisguised symbolic charge. A special role is played by the sequence in the pre-finale, the confrontation between Boss (Cornel Mimi Branescu) and Bohdan with a silent final counterpoint that falls on Ioana Bugarin. Key points are repeated in the film. Rapels. Like the image of a can of soda falling from a vending machine, the quasi-neurotic rubbing of an ambulance floor and then a car windshield, the story of the hammer and the bathtub. Everything was skilfully filmed by Andrii Butika. Read the entire article and comment on Contributors.ro