Kimi Review: the Steven Soderbergh thriller starring Zoe Kravitz
With guilty delay, one of the best films of 2022 arrives in Italy, directly on demand between rental and purchase: Steven Soderbergh’s Kimi.
Bright and early arrives in Italy Kimi, Steven Soderbergh’s new thriller starring Zoe Kravitz protagonist, popping up these days on major on-demand streaming platforms almost a year after its official North American streaming debut on HBO Max: watch out though, by us lands directly on digital stores, and not within the ‘free’ catalogs of Netflix or Prime Video or MUBI and company, but at least it is among us (whoever is speaking to you, as an obsessive-compulsive cinemaniac, has owned for months a wonderful original language dvd edition: yes, dvd unfortunately, because the bluray one does not exist).
However. While audiences and authors debate the future of the art of entertainment, dividing equally between movie theater parties and streaming parties, Steven Soderbergh simply continues his avant-garde career by unleashing sensational films one after another for anyone interested in watching them and especially for himself. Putting the ‘Netflix trilogy’ behind him, with Unsane, High Flying Bird and The Laundromat, he continues his ‘HBO Max saga’ at full speed: with Kimi, the WarnerMedia platform’s third feature film after Let them Talk and No Sudden Move, comes the masterpiece.
A thriller in the post lockdown era
Because this masterfully written thriller by David Koepp – featuring the new Catwoman for the new The Batman by Matt Reeves who here puts his body at the disposal of A character who is a tiny mouse, uncertain and zigzagging through the crowd, who crawls into crawl spaces and skims the walls because he is terrified of a world as scary as a mid-1970s conspiracy drama – seems to be able to Finally intercepting all levels of captivity in the new post-lockdown world, post-covid, post-Zoom and post-FaceTime, in which homes are microcosms containing everything, work, health, psyche, sex. Cinema.
Soderbergh – He who anticipated Covid with Contagion, released in 2011 and rediscovered in 2020 as the world went mad and for fun self-inflicted the apocalypse envisioned by the filmmaker, who returned to the top of the sales (and on-demand streaming) charts – with Kimi seems to want to (and succeeds in) intercepting everything that genre cinema has ever said or done or says and does, from Hitchcock’s windows to Coppola’s conversations to Black Mirror’s futuristic digressions, dropping everything into the now, between masks and sanitizers, between tangible technologies and relationships lived in the cloud.
A film of sounds and non-sounds, of wiring, of industrious hands pressing keys, but also of violent tracking shots, unstable steadycams, and cross-fades blowing over ephemeral realities, A gigantic work that remains under the radar because it is sufficient unto itself: already mentioned on these channels among the best movies of 2022, you can all finally catch up with it.
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