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The Gist: Enzo (Mateusz Banasiuk) isn’t actually Enzo. He’s really Stefan, however the world knows him as Enzo, the VIP model who travels the city in extravagant games vehicles, utilizing his attractive smile to get ladies. Klaudia (Adrianna Chlebicka) isn’t actually Klaudia. She’s really Monika, an instructor who jettison her speed up denim jumper and huge eyeglasses for spike heels, short skirts, counterfeit lashes, contact focal points and a wavy hairpiece to moonlight as Klaudia, the superstar model who’s on boards all over town. The third essential character in the film is The Invisible Force Of Destiny (TIFOD), played by screenwriters Marzanna Polit and Wiktor Piatkowski, an indistinct presence contriving to press Enzo/Stefan and Klaudia/Monika’s lips together.
It doesn’t occur so effectively, however, in light of the fact that The Invisible Force Of Destiny has a funny bone and furthermore needs to fill 100 or so minutes of film run time. Infrequently, TIFOD ventures back to take into consideration character advancement: Enzo lives with Alicja (Agnieszka Zulewska), an administrative sort at the promotion firm that utilizes him. She’s a brutal character who plainly values her colossal canine over him, and despite the fact that they have an open relationship, she’s disturbed that he exploits it so every now and again. She shows him out, driving him to move in with his sibling (Krzysztof Czeczot) and youthful niece Ania (Helena Mazur).
Klaudia hustles from lustrous photograph shoots to her turbulent study hall, which makes Kindergarten Cop look like Romper Room on barbiturates. Her head (Tomasz Karolak) is a hardass who loathes her notwithstanding her adored status, and has a major hard-on for government sanctioned grades. Monika detests the displaying gig, however endures it so she can take care of her dad’s (Miroslaw Baka) obligation — note: he additionally doesn’t have the foggiest idea about she’s Klaudia — which is the sort of obligation that has heavies getting him by the lapels and taking steps to break his fingers. Educating is her TRUE energy, yet in the event that the terrible TRUTH of her adjust personality is uncovered, goodness it would be such a SCANDAL, I presume?
Thus, TIFOD attempts to put Klaudia and Enzo on a similar venture, where they’ll play sex-ay sentimental sweethearts who make out close to or potentially on games vehicles. It additionally plans to make Enzo fancy Ania, who turns out to be one of Monika’s understudies. Quite, Enzo appears as though Markus and Markus appears as though Enzo, where Monika and Klaudia are two unmistakable sides of one lady’s life. They’re both being deceptive — she’s leaving well enough alone, and he believes he’s macking on two diverse ladeez. There’s a shiver among Enzo and Klaudia on set, and there’s a flash among Enzo and Monika when he chaperones school field trips. Will he at any point discover the reality, all things considered, Furthermore, will he really be compensated for being a double crossing scoundrel? NIE SPOJLERY!
Our Take: Sorry, yet Monika/Klaudia’s Superman routine is unconvincing. What’s more, cliché. Furthermore, troubled by exhausted generalizations. Perhaps it’d work if the film struck an all the more bubbly, absurdist or mindful tone, however it pays attention to itself around 10% as well, and battles to discover its comedic feet. In a mission for snickers, chief Filip Zylber strikes a lot of off-featured discussions — e.g., the scene wherein Enzo and Klaudia initially meet, while in transit to a displaying shoot, when he gets many more than one her vehicle stalls, and he jokes that she’s a whore much the same as the ladies across the road, despite the fact that they’re on a country street encircled by backwoods, which is the place where whores clearly hang out in Poland? Is this interesting? Or then again conceivable? Indeed, even distantly? You know the response to that.
The screenplay is a jumbled and redundant thing moving with heavy boots. Possibly it’s acceptable that it requires some investment to allow us to become more acquainted with the characters, however with no equilibrium of pacing and advancement and negligible science between the leads, it’s a drag. The plot throws out silly difficulties — including that old chestnut, the Child With a Life-Threatening Allergy — that vibe like lethargic movement distortions Monika and Enzo should explore to get to the unavoidable end, as directed by TIFOD. It is anything but a film you’ll effectively hate; it’s simply level, deadened and uninvolving.
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