The X - The eXploited is a perfect mirror of post-communist Hungary, and we can say all post-communist countries. We are before the government election, unsatisfied people fight on the streets and corruption penetrates almost everything. Even at school, where the main characters, police officer Éva's daughter gets into trouble and her teacher asks Éva whether she could help with speeding fines.
Éva lost her police officer partner husband the same day she gave birth to their daughter. Ever since she is stuck in a dark space with fear and panic attacks - this paralyzing fear and darkness perfectly permeates the whole movie. Only her memories about her beloved husband turn colorful in front of the viewer's eyes. As a new colleague arrives Éva gets the chance to sort of come out of her shell and start to investigate in a difficult series murder case.
Matthias Schoenaerts once said in an interview that he loves the roles in which the character gets from zero only to one on a scale of ten, because that's how we are built, we progress slowly, but this little progression can be very interesting. This is how Éva's character is built and this makes the film even more realistic and maintains the curiosity of the viewer.
The crime story is perfectly built up, any other word would be spoiler, and the end is devilish, or just simply painfully realistic. In a scene Éva's daughter holds a paper banner with the text: What is the point of living when the truth is dead? The film beautifully revolves around this topic multilaterally, and the viewer doesn't get an easy answer.
Congratulations to co-writer and director Károly Ujj Mészáros, who's previous film, Liza, the fox fairy was a hit, but it's message was already chewed and spitted out in the most understandable way, now he created a story for professional cinema spectators who are willing to work mentally and emotionally to understand the message. And congratulations also to cinematographer Martin Szecsanov who visually created the rather hopeless world dreamed up by the director and writer in which the story takes place.
Éva lost her police officer partner husband the same day she gave birth to their daughter. Ever since she is stuck in a dark space with fear and panic attacks - this paralyzing fear and darkness perfectly permeates the whole movie. Only her memories about her beloved husband turn colorful in front of the viewer's eyes. As a new colleague arrives Éva gets the chance to sort of come out of her shell and start to investigate in a difficult series murder case.
Matthias Schoenaerts once said in an interview that he loves the roles in which the character gets from zero only to one on a scale of ten, because that's how we are built, we progress slowly, but this little progression can be very interesting. This is how Éva's character is built and this makes the film even more realistic and maintains the curiosity of the viewer.
The crime story is perfectly built up, any other word would be spoiler, and the end is devilish, or just simply painfully realistic. In a scene Éva's daughter holds a paper banner with the text: What is the point of living when the truth is dead? The film beautifully revolves around this topic multilaterally, and the viewer doesn't get an easy answer.
Congratulations to co-writer and director Károly Ujj Mészáros, who's previous film, Liza, the fox fairy was a hit, but it's message was already chewed and spitted out in the most understandable way, now he created a story for professional cinema spectators who are willing to work mentally and emotionally to understand the message. And congratulations also to cinematographer Martin Szecsanov who visually created the rather hopeless world dreamed up by the director and writer in which the story takes place.