One can get the impression that in recent years gangster cinema has been experiencing a kind of renaissance, or at least an increase in the interest of creators. The bloody gangster pulp, familiar from the 1980s and 1990s has been replaced cinema more reminiscent of the 1930s gangster pictures – portraits of a gangster as an ambiguous man, torn by doubts and the weight of his actions and, above all, sentiment. The turning point for this new outlook would be Martin Scorsese
’s The Irishman
from 2019, a kind of sentimental journey of settling accounts with the character model – a ruthless gangster. Sam Kelly
is taking a similar path in his Savage.
The New Zealand director bases his sentimental journey on a broadly drawn socio- economic background and a portrait of New Zealand gangs over the course of 30 years – from the 1960s...