A pungently toxic romance between a village Lady Macbeth and the submissive guy next door, who in terms of type is a reference to the social realism that I miss here. Despite being monsters, these two characters have a surprising number of layers and if one approaches them from a cynical distance, Mr. and Mrs. Stodola is actually, and primarily, a story about the turbulent marriage of a dominant woman and a man who devotedly loves her, but cannot handle her. Yes, we find ourselves treading on the ethically thin ice of romanticising unacceptable characters, but there is nothing cheap in this empathy, because it is derived from a good character study and precise directing. Furthermore, the dramaturgical switch to procedural description of the murders in the last third of the film works superbly as a contrast to the “romantic storyline”. Lucie Žáčková’s performance is one of the best seen here since the revolution and the effective chemistry between her and the peculiarly soft Jan Hájek is the driving force of the film as a whole. Mr. and Mr. Stodola is the Czech answer to Dahmer and, in my opinion, the best domestic film in a long time.
Literary cinematic boredom on the Baltic with with a suspiciously small thought displacement.
A nice and impressive story that, however, has a contrived screenplay. In the high school scenes, Aldis Hodge comes across a bit like a goofball in a classroom comedy. The theme of systemic injustice is conceived in such a way that it only tangentially touches on racism in general terms. Despite the film’s overall formulaic nature, however, Brian is undoubtedly a charismatic and interesting character that actually works in this near hagiography of a victim of American justice.