13 Tzameti

    13 Tzameti
    2005

    Synopsis

    Sebastian, a young man, has decided to follow instructions intended for someone else, without knowing where they will take him. Something else he does not know is that Gerard Dorez, a cop on a knife-edge, is tailing him. When he reaches his destination, Sebastian falls into a degenerate, clandestine world of mental chaos behind closed doors in which men gamble on the lives of others men.

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    Cast

    • George BabluaniSebastien
    • Aurélien RecoingJacky
    • Pascal BongardLe maître de cérémonie
    • Fred UlysseAlain
    • Nicolas PignonRomain
    • Vania VilersM. Schloendorf
    • Christophe VandeveldeLudo
    • Olga LegrandChristine Godon
    • Augustin LegrandJosé
    • Philippe PassonJean-François Godon

    Recommendations

    • 88

      New York Post

      Starts slowly but builds, Hitchcock-style, to a terrifying crescendo. And don't fool yourself into thinking you know what's going to happen.
    • 75

      The A.V. Club

      Géla Babluani is unmistakably a first-timer, and his debut project is raw and rough-edged. But he aces the way simple images can make the most of a simple story.
    • 75

      TV Guide Magazine

      Shot in neorealist black-and-white, it opens like a gritty slice of social drama, then takes a sharp turn into bleak, existential horror.
    • 75

      New York Daily News

      The resulting jolts add up to one unforgettably surreal nightmare. Just be sure your heart can handle any surprises headed your way.
    • 70

      Variety

      Shot like the grunge version of a '50s noir thriller from France (or Soviet Georgia), the black-and-white 13 (Tzameti) turns into a shocker of Tarantino proportions in protracted sequences of explosive violence that leave viewers quaking.
    • 70

      The New Yorker

      The work of both Babluani brothers is weirdly stilled and mature, already devoid of the need to show off--serves only to thicken the horror.
    • 60

      Salon

      For me, the meticulous style, the fascination with ritualized (and ludicrous) violence and the film-geek self-referentiality all seem like markers of a film made by a young man, for other young men. If I were 23, and full to the brim with dark-hearted existentialism, I might love it too.
    • 60

      The Hollywood Reporter

      Not for the faint-hearted.

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