Sefer Memişoğlu

Pervert in the killing. War is not fun. Any kind of aesthetic work should be concerned with anybody who dies within or without work. The Whole mass of the film just conceals to get used to the killing scene of world politics while exposing pornographic massive dead bodies, utilities the gaze of the journalism to format the spectator's way of seeing, feeling, and responding. It is a criminal movie…

In "The Killer," a daring narrative unfolds, thrusting the audience into a realm devoid of moral constraints. The anti-hero's ruthless exploits are articulated through a monologue that chillingly mirrors an SS formula, adding an extra layer of discomfort. The film's amorality reaches a disturbing peak as the protagonist, cloaked in a "German" tourist facade, callously dispatches a Latino taxi driver. The director's calculated skillfulness, echoed in the character's actions, unveils a cinematic landscape that is both unsettling and compelling. The cold precision with which the protagonist operates becomes a reflection of the filmmaker's artistry, blurring the lines between storytelling and moral ambiguity. The reward for such calculated violence—re-engaging with the "Latino-look" partner—offers no traditional sympathy or clear moral motive, leaving viewers to grapple with the unsettling aftermath. "The Killer" stands as a cinematic venture that challenges conventional norms, making it a provocative, discomforting, piece of “storytelling”.