“Big Bad wolves” by Aharon Keshales and Navot Papuchado is a revenge thriller of strong bloody controversy with quick hand-held shootings and eye-catching photography. Based on the fear-some archetype of wolf, its title brings to the fore the issue of pushing somebody-a potential criminal- into revealing the truth as well as the way this process needs to be done. From one side, we all remember the quote: “the end justifies the means”. On the other hand, how long will it take to elucidate the murder mystery instead of spreading violence and dispersing its seeds like those dead leaves of September?
Miki the cop (Lior Ashkenazi), Dror the suspect and also schoolteacher (Rotem Keinan) and Gidi the father of the last victim (Tzahi Grad) stay together, down in a remote basement until the tortured suspect decides to disclose the secret place where the head of the little dead girl has been kept or buried. In this concentric circle of violence, except for Gidi, his father Yoram (Doval'e Glickman) also gets involved in a more austere manner, cultivating the entrenched belief seen in some old cops that harder is better and better means harder. No mercy for the guilty.
Until the end, “Big Bad Wolves” is a movie worthy of attention because it manages to keep its question marks, whilst –from time to time- the camera takes our look high gradually to trigger anxiety and make the story more intricate so as to captivate us. In general, the recurrent intense music of Haim Frank Ilfman keeps pace with the script story successfully and so it is well incorporated in the plot. In conclusion, the movie is not so frightening but don’t go if you are a passionate lover of mushy romantic novels. There’s “blood” here, the existence of which may be repulsive sometimes.
19th Athens International Film Festival “Nychtes Premieras”