Kimi’s premise Stephen Soderbergh is quite easy. This, basically, a psychological crime thriller film. Less zodiac and more back windows.

Zoë Kravitz Star Film (Fantastic Beasts, The Batman) as Angela Childs, a technology worker with agoraphobia who found evidence of audio recordings from crime of violence in his journey fixing a bug called Kimi. When he tried to report what he heard, he met with resistance from his boss. (Surprise surprise).

Unable to let go, Angela had to face his deepest fear – leaving his apartment. In advance, this seems to play our concerns all alive by: What is the danger of the virus waiting outside of our door?

We see Angela through its routine – disinfectant tissue, face mask, a bottle of hand sanitiser – all the little things we have used to work into our daily routine, to a greater or smaller level. How they resist us, rationally or rationally, depending on the individual.

For Angela, the pandemic returned the previous agoraphobic battle – something that made sense. It was very easy to empathize with him, even a lifetime outside returning to normal, he was jammed.

But this film is actually not about a pandemic – or maybe more accurate to say it’s not just about a pandemic. It’s about technology.

Kimi, fictional versions of something like Siri or Alexa, listen – always seemed. Pervasivity of this presence, depending on where you see it, good things or bad things.

That Soderbergh resolves managing the point of view despite the myopic focus of its superiority is an achievement in and of itself, assisted by beautiful cinematography. The camera works more to describe the emotional and mental state of Angela than a good dialogue when so many languages ​​we use are currently bicycled by psychoanalysis of faux socio-media that are slippery.

Kravitz plays Angela with a kind of realistic fear and is quite real. Yes he has taken his anxiety with extremes, but the core center of what it means to feel like your life beyond your control is something we all can relate.

Angela is not a caricature of what it means – the character of A Amy Adams in the woman in the window; He is real and full of dimensions. He feels, and behaves, like us, like one of my friends or family members, like the people we know and love.

The players rounded up by familiar faces that make you sit and do it Leonardo DiCaprio meme. From (especially for Gilmore Girls you are accumulated. And form a background mosaic where Angela is there, giving the real world dimensions and vibrancy to the film.

It feels like the departure of Thriller centered on other agoraphobia, where the cast was so peeled so that everyone who emerged was a suspect – and while it had advantages, to Kimi the fact that his world was bigger than his apartment even though he never went reasoable, Therefore the way the world works now.

We all live outside our apartment wall, and this is only enhanced by a pandemic. Kimi utilizes technology in a more realistic way – extinguishes facetime calls than a smooth superimpose video – supporting reality awareness of our literas all tend to paint our lives.

Visually, Kimi is fun and fresh. With a narrative, it’s interesting without being confusing. His appearance is controlled but very emotional. In this way, Soderbergh has made a film that really feels unique even within the limits of his genre, encouraging them enough.