One of the best kind of thriller is when the Everyman, through folly or a hidden motive, embarks into a world he scarce knew existed. These thrillers, when done right, create a palpable tension, as the viewer is also pulled into the circumstances, only finding out what is in store at the same time as the Everyman.13 (Tzameti) is such a film. It is remarkably taut. The tension is drum tight. Our Everyman propels himself into a situation with utter ignorance of what it entails. He knows there may be a payoff involved. While working as a roofer at a house, he overhears part of a conversation involving a train ticket and a hotel reservation. The letter containing the ticket and information falls into his hands. He seems relaxed on the first leg of the trip; then a bit nervous as he ventures deeper into it; then he tries to look relaxed as he becomes more nervous. Then he becomes afraid.
The emotion registered on the face of Sebastian (George Babluani), from fear to helplessness, is translated in near silence by the impersonal intruding camera of director Géla Babluani. 13 (Tzameti) is filmed in black and white. The starkness makes the mood. The minimal use of music sustains the mood. As Sebastian delves further and further into the maze, my heart was in my throat. I was stiff with anticipation of the outcome. My fists were clenched. By following the less is more school of storytelling, Babluiani creates an intense and absorbing thriller.
13 (Tzameti) is the best film I’ve seen this year.
1 comment:
This was a great, well-done movie. The less you know the better and more tense it will be.
Don't wait for the inevetable, crappy Hollywood remake. See it now.
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