‘Kimi’ Review: Zoë Kravitz Stars In Steven Soderbergh’s HBO Max Nifty Little Yarn, With A Modern Technological Twist
13.02.2022 - 06:47
/ deadline.com
Fish gotta swim, birds gotta fly and Steven Soderbergh just gotta keep on making films, which he does with his 33rd feature narrative title, Kimi, in which the central character’s intense agoraphobia very neatly overlaps with the all-enveloping presence of Covid. It’s a piece that feels like it was quickly made in the heat of the moment and creatively benefits from that edge. The film is also bolstered by the unsettling disruptions of norms, the feeling that the continuation of everyday existence is extremely tenuous. It’s a tight, taut little thriller—the third film Soderbergh has made under Covid conditions–that defines our times as the moment when communication via electric devices has superseded personal one-on-one contact. In this regard, the film clearly represents the time and place it was made.
Shot under restrictive circumstances that feel all-too familiar, the film was written by David Koepp, whose 30th produced screenplay this is; he clearly would have been very happy in the knock-‘em-out-fast big studio days. It’s no small surprise, then, that the story at first feels like a claustrophobic Rear Window for modern times, one that permits the central character to stay indoors for a long stretch but to remain in constant contact with the outside world via the internet.
Surely one of the few actresses to star in a film while sporting blue hair, Zoë Kravitz plays Angela Childs, who works for the titular online communications system in Seattle and troubleshoots as required. With a spacious, gorgeously appointed full-floor loft like this, who would ever want to leave home? But it’s gone beyond the pleasure principle—Angela avoids venturing outside at all costs; she’s nervous and paranoid to an acute degree, very good
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