Kimi

Kimi ★★★★½

Soderbergh’s direction is, per usual, tight and efficient (as is his editing – it runs a lean, mean 89 minutes). He conceives a fairly ingenious visual manifestation of Angela’s condition, shooting and composing the scenes in her apartment – a controlled environment – in a sleek, locked-down, direct style but adopting a more frenetic, handheld, low-angle aesthetic when she’s forced to go out into the world, a place where everything feels out of control. Also striking is how deftly he uses sound, specifically the absolute pin-drop silence of her noise-canceling headphones, a tool of the work she does, but also an escape hatch from the world.

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