St. Petersburg is in trouble once again: A maniacal strangler is preying on young women, mummifying their bodies and turning them into creepy dolls, which he then dumps in crowded places. Profiler Zoya Volgina, a brilliant expert but not very pleasant to talk to woman, participates in the search for the killer. Investigative Committee employee Timofey Volokh was appointed as Volgina’s partner and is obliged not to interfere in the process, but only to report to Moscow on the progress of the case. Meanwhile, the case itself ceases to be ordinary: it turns out that what is happening is somehow connected with the murders that took place in Volgina’s hometown when she was a schoolgirl.
More or less the same thing happened with the novel “Inside the Killer” by Israeli writer Mike Omer, who was a fan of Terry Pratchett and Douglas Adams until the age of 35. He wrote fantasy and science fiction and then switched to crime thrillers. (and continued writing fantasy under the pseudonym “Alex Rivers”). Profiler Zoe Bentley, Omer’s main idea, appears in all three series broadcast after this change of genre. She first appeared as a supporting character in the episode “Glenmore Park”. Later, when Ömer examined Robert Ressler and John Edward Douglas (Authors of the nonfiction books “Who Fights Monsters. How I Tracked Serial Killers for the FBI for 20 Years” and “Mindhunter: FBI Special Unit for the Investigation of Serial Murders”; David Fincher’s “Mindhunter” series is based on the latter), Zoe got a solo trilogy (“Inside a Killer” is her first part). She then moved on to books about psychological negotiator Abby Mullen, where the focus shifted from serial killers to cultists.
Now Zoe Bentley is from Chicago to St. She moved to St. Petersburg and became Zoya Volgina, the heroine of actress Anastasia Evgrafova from the comedy “Be My Kirill” (Bentley’s partner Tatum Gray did not undergo such localization and turned out to be Timofey Volokh, no matter what) Tikhon, the star of “Major” Thunder Portrayed by Zhiznevsky. The artist Kirill Kyaro is mainly responsible for the displacement and support of the domestic auto industry: Omer immediately watched two TV series with his participation, “Better than People” and “Epidemic”, and under their overwhelming influence sold the film rights to the Russians (“Katilin” In” Kyaro At the same time, he did not take pictures, so everything was in vain). At the head of the project was Vladimir Mirzoev, director of Dmitry Glukhovsky’s mystical series “The Swamp” (known in the Russian media as a foreign agent). Mirzoev wrote Omer’s text, which the director simultaneously ” He adapted it together with the girl Anastasia, with whom he worked in the series “Crime and Punishment” (the action of Dostoevsky’s novel was also transferred to modern St. Petersburg, but Chicago would obviously be more). Beautiful).
Although Mirzoev argues quite convincingly report The implication for the universality of this story is that it quickly becomes apparent that the devil, as always, is in the details. It’s not that important that Omer settled his heroes in America for purely commercial reasons: after all, they were written by Americans, and issuing them another passport is not such a trivial task. “Inside the Killer” fails miserably, joining the bizarre – insubstantial – series that is filmed in Russian in an utterly absurd way.
There is, of course, an irony in Zhiznevsky’s inability to leave after “The Great Thunder.” funny-Americanized PeterI want to believe that Mirzoev saved the most atmospheric things for “Crime and Punishment” – which is also filmed especially sadly here (Zhiznevsky, of course, as a St. Petersburger, confirms that everything is original, but he, it should be understood, is a man by force). But this isn’t very fun to watch. How to listen: The conversations here are not in ordinary Russian, but in the language spied on in translated foreign fiction, lifeless and as if dipped in formaldehyde. Although it is worth recognizing that life before the phrase “by the way, the bitch works in the UK” was noticeably poorer and paler.
And everything would be fine, but “The Killer Inside” seems to belong to the sad genre of thrillers that aestheticize violence against women after the maniacs shown, enjoying it, savoring it, hiding behind the clash of eros and thanatos. The opening scene records in sufficient detail the torture and murder of the heroine Anastasia Krasovskaya (“Child’s word. Blood on the asphalt”, “Tough teenagers”), arguably setting the tone for all the remaining episodes (no need to be a profiler here). It’s funny that the series also takes a position of some moral superiority and periodically pokes viewers’ noses into human indifference, hinting at a partial sense of guilt: passers-by notice the deaths of frozen girls with a noticeably large delay, their reports of disappearances are also filed with a long delay. But not everything is so bleak in this area: “The Killer Inside” also attempts to portray the (truly universal) experience of women as an almost permanent sense of threat from the men around them. What can I say: shoot Evgrafova more often and take your daughters as co-authors.
Release date: February 22, the premiere of a new series – once a week
Duration: 5 episodes of 50 minutes
Showrunner: Vladimir Mirzoev
Casting: Anastasia Evgrafova, Tikhon Zhiznevsky, Yana Sexte, Sergei Shakurov, Daria Konyzheva, Sergei Gilev
Where to see: Kinopoisk