Killer is an indictment of the way in which the director’s homeland introduced Capitalism, a Capitalism that would appear to be mainly embraced by an unscrupulous Mafia. The Mafia can do what it likes and the ordinary citizen is a victim with no rights. This mechanism can be seen to a greater or lesser extent throughout the old Eastern Block and will undoubtedly have far-reaching consequences in coming years – and will result in artistic reflections like those of Darezhan Omirbaev. The director shares his clear commitment with other directors from the Kazakhstan New Wave such as Amir Karakulov, Serik Aprimov and Ermek Shinarbaev.Killer is a Bressonian, tightly-organised tragedy and a film noir at the same time. Omirbaev shows us the dilemma of Marat,a driver in today’s Alma Ata, the former capital of Kazakhstan, who is locked up in an inevitable course of events. He works for Professor Kassimov, a respected sociologist and commentator for local radio. When Marat collects his wife and their new-born son from the hospital, he causes a minor collision with a Mercedes. So he won’t be reported, he makes a deal: Marat will pay the costs. To get the money he resorts to a loan shark. The escape clause in the contract he has to sign has far reaching consequences.
