Monika Bogucka (Zofia Jastrzebska), a vivacious young woman working for a shady club, Shipyard, in Poland’s Tricity, is found murdered, her body drowned in the river. The investigation reveals that her lips have been cut off. Leopold Bilski (Jakub Gierszal), the lead prosecutor, learns that the case bears an eerie similarity to another murder of a woman 15 years ago.
The convicted killer of that earlier crime is out on parole and is quickly arrested for Monika’s murder.
Evidence of the heinous crime is discovered at his residence, though it doesn’t prove sufficient to implicate him. The suspect, now presumed to be a serial killer, commits suicide while under investigation, leading the police department to close Monika’s case. Bilski, however, senses foul play and continues his investigation against the orders of his superiors, despite facing threats from an elusive entity.
His persistence unravels an intricate yet deceptively simple murder, complicated by the personal stakes and hidden motives of everyone involved.
“Colors of Evil: Red” runs just about two hours and presents a juicy mystery that never loses steam. The film opens in the middle of the action, with scenes involving Monika shown in flashbacks that reveal key moments and connect them to the present timeline, establishing the chain of events and the reasons behind the murder. The killer’s identity, however, isn’t revealed until the end.
This reveal may surprise newcomers to this genre, though seasoned mystery fans might pick up on clues from the very beginning. Adrian Panek could have done a better job concealing the character that he planned to reveal in the final act as the surprise element. Sadly, the portrayal is so unsubtle and noticeable that viewers will suspect early on that this character has a more significant role in the scheme of things.
What benefits the story and the mystery are the many diversions that the director offers, along with his willingness to explore these elements to the very end creating genuine doubts in the minds of the viewer. There is at least one despicable villain instrumental in Monika’s fate, portrayed with impactful and maniacal charm.
The relationship between Monika and her mother is well-developed, and we see in graphic detail the toll her daughter’s death takes on Helena (Maja Ostaszewska), who is willing to take any risks to uncover the truth. As the story progresses, Helena begins to suspect that her husband may be at the root of the evil, altering her character dynamics and adding an interesting layer of drama.
The ensemble cast delivers consistently strong performances. Jakub Gierszal as the investigating prosecutor is fantastic, projecting urgency and unease that carry through the narrative.
The story moves at a brisk pace, with Gierszal always at the heart of the action, elevating his somewhat generic protagonist to a level that raises the film’s overall seriousness and depth.
Zofia Jastrzebska is scintillating in her criminally short role. Every time she appears on screen, the scene lights up, and you don’t want her part to end. There are moments where she conveys both horror and sorrow in a single moment, and she does so effectively proving that her beauty is second only to her acting superiority.
Her exceptional beauty adds a unique layer to her character, enhancing the impact of the tragic and abusive moments she endures and making her character even more heartening. My only complaint is that there wasn’t more of her.
Maja Ostaszewska, as the grieving yet resilient mother pursuing leads and absorbing the graphic details of her daughter’s death, is fantastic. Her interactions with other characters and the takeaways from these conversations are intriguing.
Her emotional arch through the story is one of the most interesting aspects of the film to explore. Przemyslaw Bluszcz as the despicable Kazar embodies everything his character needs to be. He unleashes a version of the evil that is despicable and uncontrollably charming at the same time.
While the mystery in the film may not be entirely unpredictable, it is intriguing enough to justify the runtime. The performances are endlessly engaging and ensure that the audience’s interest is held throughout. This immersion is enhanced by the cinematography, editing, and music, which establish the sombre tone of the proceedings perfectly.
Polish films often have brilliant cinematography, and this film is no exception. The visuals are captured with such vibrancy and intensity that it’s hard not to pause momentarily to appreciate the spellbinding beauty on display. This aspect of the film works in its favour, captivating the audience even in dialogue-driven scenes with the sheer artistry of each frame. The editing is pitch-perfect and suits the overall nature and mood of the content.
“Colors of Evil: Red” may not be the best thriller that you’ve ever seen, but it certainly has enough merit to hold your interest and intrigue you throughout its runtime. Zofia Jastrzebska’s presence and performance stand out as one of the film’s most memorable elements, and the impact of her character’s tragic fate successfully drives the rest of the story. While the finale is somewhat predictable, it’s still enjoyable and leaves little room for complaint. This is the kind of film to watch right before going to sleep on a Friday night with no plans for the next morning.
Rating: 3/5 (3 out of 5 Stars)
Also Read: Joy Hanuman is a telling commentary on politics, social media & justice