“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”
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