Like Fritz Lang, David Fincher or Bong Joon Ho before him, talented debut filmmaker Lado Kvataniya uses the concept of police detective vs serial killer for an excitingly stylised, macabre and haunting narrative, that ultimately revolves around the identity of an era in this case, the late 1980s Soviet Union. With Glasnost and the end of communist rule, the West also learned of the (unsurprising) fact that there were serial killers in Russia too – the most notorious case probably that of Andrei Chikatilo, nicknamed the Rostov Ripper, or the Russian Hannibal Lecter. Based on these and many other sources, Kvataniya and screenwriter Olga Gorodetskaya constructed an immersive psychological puzzle, jumping back and forth in time, to reveal ever new-possible motives for the actions of all the protagonists. It all starts in 1990, when Detective Issa Davydov is celebrating his promotion and receives a call, reporting a crime that looks precisely like the ones of the serial killer that he famously captured some years before ...
In the backwoods of Ontario lies a town called Kinmount. This little hamlet of only a few hundred residents no longer has a gas station or a school; however, thanks to the singular vision of local septuagenarian Keith Stata, what it does boast is a five-screen cinema palace and memorabilia museum—one that welcomes upwards of 50,000 visitors every summer.
Follows the horrific event that has captivated the public's attention for almost 50 years, as well as a more comprehensive narrative about Los Angeles, the American dream, and the situations in which justice might or not be effective.