
2019. Lithuania. An unseen and unheard of virus catches a country unprepared. The country is quarantined and all life goes into the distance. Meanwhile, the ever-promising police investigator Meilūnas is dealing with a not-so-usual case - while the country is under quarantine, the wife of citizen Šlamštutis has disappeared. The investigation is conducted remotely. On the one hand, it is convenient to work remotely, but on the other hand it is very difficult to find a common language between the investigator and the suspects. Comic situations are just bursting at the edges, and then there's the wife, the innate modesty and the internal rivalry within the police force, which all get in the way of a good performance. Suspicious circumstances abound, the case stalls and even Santa Claus is on the list of suspects.
Every movement becomes a question of identity. To become who we are meant to be. In order to reach that we often have to shed who we once were, and that shedding can sometimes be so brutal it’s ungraceful.
In the shadow of towering film production companies lived dozens of grindhouses, genres, and low-budget films deemed too “unclean” for the modern film audience.
The film illustrates the life of a single who struggles to provide an ideal childhood for her two daughters.
It's not love. It's Obsession. The hook of this movie is the tension between wanting to be loved and the fear of being all-encompassed by that love. It plays on men’s typical (though certainly not universal) inner-conflict
Ultra-violent storytelling has never been my thing, but the issues with Scarface go beyond that. The film perpetuates harmful stereotypes about Latinx immigrants and uses gore and misogyny for shock value that never serves any purpose. The whole venture is frustratingly empty, and left me desiring something more.