‘The Secrets We Keep’ Review: A post-WW2 American modest community harbors, all-around acted spine chiller

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The Secrets We Keep Review

The action took place in a geographically obscure American suburb in the late 1950s. Where rear-end cars were rolling leisurely on the street, women wearing large and silent bell skirts.

The local doctor Lewis (Chris Messina) and his Romanian-born man, His wife Maya (Noomi Rapace), and his youngest son Patrick (Jackson Dean Vincent) look like people chasing the American dream.

But as the name suggests, there are secrets here. When Maya saw a tall blonde (actually Joel Kinnaman, and like Rapace, originally from Sweden), they all started dating with a touch of German flavor.

The Maya completely believed in this European.

She is described as a Swiss. A citizen named Thomas is a German named Karl, who did a terrible job at the end of the war 15 years ago. At first, she just chased him wearing perfect 50s sunglasses.

This soundtrack reproduces the destructive string style you might have seen in Alfred Hitchcock’s movies at the time, such as Vertigo or Back Window, or, As the advertising tent implies, Maya and this person happened to pass by and drive north, northwest.

Powerful thematic fine-tuning like this obscured some of the subtleties accumulated in other parts of the film. Director Yuval Adler and the actors performed a fan-shaped narrative dance, exposing the background story.

It uses a hidden and incomprehensible way of expression. All. When Rapace is actually smoking and standing there, Rapace is especially good at appearing mysterious, neurotic, vulnerable, and attentive.

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Messina and Kinnaman provided solid support, bringing light and shadow to their roles.

Overall, this is an exciting and intense drama. This is as vain as the Costa Rica Gavras movie “Music Box.” The audience has been wondering if anyone has always been a Nazi. This is a 50/50 coin toss.

There are two possible outcomes. The movie kept the coins in the air for a long time. The panicked Lewis did not immediately bring Cabot into the whole situation. This fact requires people to be suspicious.

But the couple dragged their tied prisoners into the basement. He squats down and insists that he is not Karl. But Thomas, not a former Nazi German, but a neutral Swiss. When he was working in Zurich, he was never in a “state of war”.

She is ready to do anything to get the “truth” from him. This is a claustrophobic situation that varies with escape attempts, suspicious neighbors, police visits. And known facts about Thomas’ American wife, Amy Seymets. Her story has reached a certain level.

But then she may wonder who her husband was before meeting him?

Seymec raises a troubling question about whether the shortly recorded characters are complete. And Messina is also excellent in excellent marriage roles.

As the heroine (English: heroine) of the heroines (English). Rapace is one of his most substantial transitions, but sometimes almost hysterical, but she refuses to be a victim.

Kinnaman may not have enough threats to impress some people. But let us believe that Carl (aka Thomas) might be a good strategy. Although it is hoped that history will not obliterate his name, he has remained as innocent as possible.

In a script that is good at avoiding language, the best way is to write a letter. When the prisoner reveals his truth. This revelation emphasizes how evil itself confuses the Creator-“in time”.

It is incompatible with people they would otherwise make mistakes for themselves. In short, the “secret” is making a more significant return because it has some incredible plot military potential.

Especially because Maya and Lewis were unable to hide their guilt. At the beginning of the missing person search. It is an explosion of things significant influence.

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In describing the war crimes of the Nazis, he is also commendable. Because he did not turn himself into the kind of predatory thriller that he sometimes feared. The resulting habitable middle ground is tense and thought-provoking.

Still, the moral riddles expounded on a personal level. It seems to be on par with the riddles of Adler’s first luxury feature film, Bethlehem. The background of the Louisiana film is still uncertain. But in the context of soft, discreet design and technological advancement.

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