Fifth about The Seventh


Kompromat: there is no denying how realistic the story told by Jérôme Salle in this film sounds; Russia is internationally known for doing what is described in this film, creating a false narrative to destroy someone’s reputation. It’s true the film shifts from a drama to a thriller part-way through, which is not as convincing, but the whole still is a capably done film. Gilles Lellouche is fine as the Frenchman wrongly accused, alternating despair and revolt at his situation; Joanna Kulig is quietly excellent as the Russian woman who may or may not be the catalyst of it all. The film has a justifiably cold look, with cinematographer Matias Boucard’s dark and muddy images enhancing the grim situation. Editor Stan Collet jumps back and forth to give some context while still keeping the tension high. Composer Guillaume Roussel’s musical score feels right for the material.

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