Kafka (1992)
Runtime: 1 hr 40 mins
Synopsis: Steven Soderbergh's follow-up to the hugely successful SEX, LIES AND VIDEOTAPE is a dark thriller that follows a fictionalized realization of the influential writer Franz Kafka. Set in the early 20th century, the film begins with Kafka (Jeremy Irons) as a reclusive aspiring writer who... Steven Soderbergh's follow-up to the hugely successful SEX, LIES AND VIDEOTAPE is a dark thriller that follows a fictionalized realization of the influential writer Franz Kafka. Set in the early 20th century, the film begins with Kafka (Jeremy Irons) as a reclusive aspiring writer who works as a clerk in a huge, impersonal insurance company. When a colleague disappears under mysterious circumstances, Kafka's search for him leads him to an underworld of evil and corruption. At first he encounters Gabriela (Theresa Russell), a mysterious coworker who attempts to recruit him into her underground revolutionary organization, but his extreme sense of individuality won't allow him to join their group. As the days progress and Kafka receives the promotion that was intended for his colleague, his search leads him to a guarded mansion that turns out to be the cause of the city's rash of recent deaths. Soderbergh shoots KAFKA in an atmospheric black and white that adds tension to the already edgy mystery, shifting to color once Kafka enters the building in order to contrast the worlds even more. As the introverted Kafka, Irons is the definition of an unassuming man who finds himself caught up in a world that is far beyond his control. [More]
Genre: Horror/Suspense
Starring: Jeremy Irons, Theresa Russell, Joel Grey, Ian Holm, Jeroen Krabbe
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Reviews
All the Kafka basics are there for the literary types to muse over and it has great entertainment value in its unpretentious playfulness.
Soderbergh's sophomore jinx, a pastiche of styles (noir, German Expressionism) and themes (creativity, personal and political oppression) at the center of which is the vastly miscast Jeremy Irons as the Jewish writer involved in a senseless murder mystery
Lem Dobb’s script doesn’t rely on comprehension or linearity, but the whole scope of the project has its compelling root.
Quite often, the visual feast is enough to hold audience attention. But, in the end, it all feels rather empty.
A movie about Franz Kafka? It's a good idea for a microsecond. Then it dissolves into a dumb proposition.


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