A few years ago I read Kim Newman's Video Dungeon page in UK movie magazine Empire,and saw him praise a exciting-sounding Thriller. Attempting to find it,I was disappointed to not being ablw to find it either online or on disc.
Years later:
Signing up for free 30 days of Shudder,I checked their exclusive page, and with the title having been on my "want to see" for years,I was shocked to see it pop up! Leading to me at last entering the cold hell.
View on the film:
In the cab with Ozge picking up late night fares, director Stefan Ruzowitzky reunites with cinematographer Benedict Neuenfels and ticket a blazing Neo-Noir atmosphere of splintered lines of blue and yellow cast across Ozge's cab as she kicks back for survival.
Pounding a sneering guy in a cage who laughs her off as being a weak woman, Ruzowitzky puts this hell on deep freeze by brilliantly taking inspiration from the chill of the Nordic Noir genre, striking the outbursts of violence with a unflinching short, blunt force,which is unleashed with delicately positioned angles eyeing the assumption cops and a serial killer make of Ozge being small and weak.
Taking every hard knock the city gives, Ruzowitzky peels off a stripped stylisation, dressing loner Punk Ozge in suffocating darkness blocking all others from her, which Ruzowitzky holds round Ozge in thrilling long on the street tracking shots slamming Ozge and the serial killer together. Following Ruzowitzky's Nordic Noir- inspired direction, the screenplay by Martin Ambrosch hits a excellent character study of Punk Noir loner Ozge, displaying the abusive family background which has left her bare, the lingering aftermath of which gives Ozge a hard skin when facing the killer.
Sitting alone seeing each passenger come and go from her taxi, Violetta Schurawlow gives a spectacular performance as Ozge. Left bruised by her family,Schurawlow shows the marks under the skin of Ozge with a withdrawn body language fragility from anyone who tries to crack the aggressive, cynical shell Ozge puts herself in as she enters a cold hell.
Years later:
Signing up for free 30 days of Shudder,I checked their exclusive page, and with the title having been on my "want to see" for years,I was shocked to see it pop up! Leading to me at last entering the cold hell.
View on the film:
In the cab with Ozge picking up late night fares, director Stefan Ruzowitzky reunites with cinematographer Benedict Neuenfels and ticket a blazing Neo-Noir atmosphere of splintered lines of blue and yellow cast across Ozge's cab as she kicks back for survival.
Pounding a sneering guy in a cage who laughs her off as being a weak woman, Ruzowitzky puts this hell on deep freeze by brilliantly taking inspiration from the chill of the Nordic Noir genre, striking the outbursts of violence with a unflinching short, blunt force,which is unleashed with delicately positioned angles eyeing the assumption cops and a serial killer make of Ozge being small and weak.
Taking every hard knock the city gives, Ruzowitzky peels off a stripped stylisation, dressing loner Punk Ozge in suffocating darkness blocking all others from her, which Ruzowitzky holds round Ozge in thrilling long on the street tracking shots slamming Ozge and the serial killer together. Following Ruzowitzky's Nordic Noir- inspired direction, the screenplay by Martin Ambrosch hits a excellent character study of Punk Noir loner Ozge, displaying the abusive family background which has left her bare, the lingering aftermath of which gives Ozge a hard skin when facing the killer.
Sitting alone seeing each passenger come and go from her taxi, Violetta Schurawlow gives a spectacular performance as Ozge. Left bruised by her family,Schurawlow shows the marks under the skin of Ozge with a withdrawn body language fragility from anyone who tries to crack the aggressive, cynical shell Ozge puts herself in as she enters a cold hell.