A woman on the road in the face of a serial killer – ryan

The history of cinema is filled with film species that adopted methods and trends in some of them the element of the place is a basic pillar, as it turns into a mirror of personalities, cultural environments and the nature of societies, and thus the film possessed an additional factor for success in being closely related to reality and derived from it in addition to the availability of other aesthetic elements.

In this sub -type of films – which we are now dealing with – it is not the only theme that draws its path but rather the place, and here is the path that the character takes in its transition between the borders of a country to another country or between one city and another, and here the aesthetics of this type of film narration will be found and the aesthetics of the film.

The first feature of road movies is that it often belongs to that type of low -cost or low -budget films, because they sometimes do not exceed characters and photography in external natural places with some internal scenes and signs.

From here we can look at this film by director Lawrence Jacomelli as a film from the road films through the Bobby’s journey – actress Britney Kamacho alone in her car across the American state, for the purpose of meeting her husband after a dispute and separation, and during that she continues her contacts with her sister and her husband to suddenly find herself in the face of the road policeman, Blistine – plays the actor John Shawab while he is alone and is alone in a wide land A arid desert, and very simply, will use his authority, declaring that it violated the limits of speed and that it caused harm to the police car, and it must pay a fine of $ 1,000 and after negotiations with the policeman, he agrees to cancel the punishment in exchange for a bribe of three hundred dollars.

During the supply of her fuel, she discovers through the station worker that that officer responsible for that American boycott is doing these actions with his full freedom without anyone holding him accountable and that she is not the first victim, she tries to seek the help of her husband but to no avail, and she finds herself in that vast range and then to receive a bullet fired by the policeman to detonate her car’s wheel so she is forced to leave the car and cut the road walking.

In a dramatic atmosphere like this, the enemy is embodied by its grim existence, as it can appear anywhere, the square is its square and is free to act, yet she tries to find Bobby for herself a solution, so she accompanies the worker of the semi -homeless cafe to relieve herself from the burden of that panic, but what is not in her account is to start another bullet that leads to the killing of that girl immediately.

This shift in the film drama will take us to another narrative path, which is the path of crime and violence, as the identity girl will be in the face of a criminal who does not refrain from killing anyone in cold blood, as this was followed by a truck driver to crown that catastrophic journey, as Bobby resorted to an isolated place full of cars and there is nothing but an unbalanced man, to make sure that he is another conspirator and accompanied by the policeman His dysfunctional brother, and that there are identity cards for many girls who were finished by that serial killer who hides a policeman.

In this regard, critic Eric Hills says at the Mufi Wafir site: “This film fuels our innate fear that we will be stopped in the middle of an abandoned place where there is only a policeman that may be rogue. Even if we are completely innocent, there is a terrible feeling that this person may be one of these crazy people who carry an official badge and hide behind it as the blood star that this American officer carries.

For women in the movie, there is an additional fear of physical assault, and for people with colored skin, additional concern that this policeman is racist taking advantage of the police badge to immerse him in his fanaticism, the girl Bobby is not white and for this anxiety is exacerbated. “

As for the critic Chris Boik on the site of Yuki Review, he says: “This film is intelligent in its construction and a control in the integration of the scenario, but it begins to stumble with the approach of the end, because of some options that are available to Bobby’s character for the purpose of escaping and getting rid of the impasse without exploiting it intelligently. However, the film succeeds in reaching its goal, and provides an interesting interesting journey throughout the area of ​​the film time.”

In the process of the events of this film, of course we will remember here many films that presented characters who did not leave memory in the framework of road and chasing films with evil and most harmful characters as in the films “Bonnie and Claid” 1967, “The End of the Week Light” 1965, “Cold Fever” 1995, “Dwell” 1971, “Manafi” 2004 and “Grade anger” 1940. And “The King of the Road” 1976, “Missing in America” ​​1985, “Road Warriors” 1981 and “Fitrah Blinks” 1994, “Traveler” 1975, “The Road” 1954 and other films, as it is not possible to include the best hundred films of the road in the history of cinema, but these were some of them.

On the other hand, this type of film gives the director of photography a wide space to use long, public and panoramic shots, where the camera finds greater flexibility due to the expansion of the place and its variety and the consequent movement of the camera related to the movement of the car, including the flexibility in the use of the portable camera and the spon The bloody that reaches the cordon of Bobby and cut off its age and then rebelled against her jailer.

It is what we can call pastoral behavior that is manifested by the personalities that the road brings and its nature is manifested, whether it is aggressive or thieves, and it is a kind of distance from the dominant in cities of discipline, submission to the law, etc., all of this applies to that serial killer who hates what is around him and proceeds to retire from his victims in cold blood, that the dramatic dramatic transformation that was not expected is that Bobby deceives her jailer on the basis that she committed suicide, while she had put the policeman in an unexpected position to finish it and pick up a pile of identity cards for the victims to escape the single police car to save herself.

On the level of the film rhythm, the director succeeded in building a coherent dramatic narrative that made us concern you in following the events and in the hope that the victim would come out of the dilemma that she found herself jammed in it, even though she did not adopt that ingenuity in the reactions and underwent the whims of the serial killer until the happy end stage, when it is final, which achieved a largely logical dramatic balance.

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Director/ Lawrence Jacomelli

Screenplay/ Victoria Tilor, Lawrence Jacomelli, George Kelly

Acting/ Britney Kamacho in the role of Bobby, John Schwab in the role of officer Blaistin, Sydney Bromfield in the role of Amy.

Director of Photography/ Pascal Knock

Music/ Felix Hills

Ratrictions/ IDP7 out of 10, Prime Video 7.5 out of 10, Google Fiorens 75 out of 100