Returning home from a long business trip, Mark discovered that during his absence he had become a completely stranger to his wife Anna. He decides to find out the whole truth. But gradually it turns out that this is about something more than a simple love affair. Every day the spouses plunge deeper into the abyss of insanity, which develops into a bloody nightmare.
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Sparks of visual dud, the suddenness of the macabre sound, the elusiveness of the operator’s foresight. The nerve endings are electrified to the limit. The anecdote put on the skin of a horror movie and slipped a tragic comedy instead of a comedy drama. Mark returned from a long business trip and fell into depression from domestic surprises: his beloved wife Anna has had a lover, Henry, for a year already, she constantly leaves somewhere, returns to the platoon, shows a tendency to masochism, does not care about their common son Bob. God, as it were, is still alive, but declared terminally ill. The breathing dog has already managed to publish the last screech and swim to him like carrion on the water surface. “Good is just a reflection of evil.” Loneliness has won.
Vera Isabelle Adjani. The downtrodden loser, who sacrificed the family life of the ambitions of a failed ballerina and lost faith in everything that can only be believed, once made an unambiguous whine in front of a stamped cast of a bearded Jew with barbed wire on his head, holding a string bag full of food block between his legs. Then, in a fit of cosmogonic initiation, accompanied by the cries of the demoniac, it blew out with muddy yolks, festering milk, blood and gave birth to … not a man, not a god, not a demon, but the very faith in them. The personified image of speculative aspirations consisted of viscous mucus, bulky tentacles, and a hypothetical penis. The mediation between “bodily” and “spiritual” is established: the mucus lubricates, the tentacles guide, the member ramps. Anna is a metaphor for intercourse. The essence of life is expressive, slimy, insatiable and useless, which in an instant has acquired monochrome happiness, which obliges us to realize the innate instincts of motherhood and copulation in relation to the infernal monster.
Sam Neal’s Hope. Prayers are alien to the brand, but it also has its own spiritual masters with thorns on top of its head. Every day, contemplating in the window a piece of the Berlin Wall with wire teeth, he is full of longing in the hope that Anna will return once and for all. Nadezhda Mark also has a “childbearing” function and the spouse’s doppelganger was not long in coming. The blonde version in the status of the melancholic educator Bob Helen is the angelic hypostasis of the hysterical wife, with whom you can lie in the crib without destructive sex, satiating with only expectations. Pandora’s box is opened and the curse of the human race overtakes Mark with the ghost of pink socks, which must be worn by both the executioner and the victim. And the hysteria of the spirit in the form of stereotyped Dostoyev’s doubts, pseudo-humane nonsense and professional spikedness interferes with its confusion to draw the line between the first and the second. The tangibility of hopes throws Mark into the vest of obsession and atrocities with no less force than the one with which faith devours Anna.
Love of Heinz Bennent. Henry is a symbol of hedonism in the all-encompassing sense of “Zen-nirvana”. He does not have a clear direction of energy and is content with all human pleasures – sexual, narcotic, platonic. He does not need a separate appendage of his own obsession. Lacking the necessary ridge in its airy spherism, love naturally goes to feed the monstrous reality, choking in someone else’s vomit on the bottom of the ceramic push. Love is gutted, crushed. Henry’s own mother does not see corruption in the stench, the soul of his own son, but asks a rhetorical question: what is worse – to take someone else’s wife, offend the child or kill? All three actions take place and they take place at those very buridan straw stacks. Trying to answer the old woman is the same as thinking “I’m a trembling creature or I have the right.” No wonder the donkey is dead.
The baroque direction of Andrzej óu?awski is aimed at the atmosphere of a demonic looking glass, at creating chimeras sweaty to a stink, at a pain in the stomach with salutary nausea. The truly butchery luxury of savory absurdity suggests the circumstances in which we calmly give the most valuable, the most important, the most expensive for the trebuchet mince. Obsession is a boon to clarify for the sake of clarification. The coming “moment of truth” is not aesthetic, not ethical. Fright, psychosis, panic, suicidal shooting range in the back. Faith is ugly. Hope is criminal. Love is mortal.
Codec: HEVC / H.265
Resolution: Native 4K (2160p)
Original aspect ratio: 1.66:1
French: DTS-HD Master Audio Mono
French: DTS-HD Master Audio 2.0
French: Dolby Digital 2.0
English: DTS-HD Master Audio Mono
English: DTS-HD Master Audio 2.0
Multiple languages: Dolby Digital 2.0