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‘Veni Vidi Vici’ Review: Ruthless Austrian Satire Takes Aim at the Superrich, Treating Capitalism as a Most Dangerous Game
Daniel Hoesl and Julia Niemann tap a nerve with unconventional murder mystery, which asks not who the killer is but why the system indulges the 1%.
Hailing from the country that gave us such grim social critics as Michael Haneke and Ulrich Seidl (fittingly, the latter serves as a producer here), Vantablack Austrian satire “ Veni Vidi Vici ” opens with a senseless homicide. From “WiNWiN” to “Davos,” these two filmmakers have dedicated their careers to exposing and skewering the ultrarich, and their latest — which premieres in competition at Sundance, closely followed by an international bow in Rotterdam — is destined for a controversial festival run. That’s precisely how Hoesl and Niemann intend a film where members of the 1% are free to hunt civilians for sport — an idea also floated in movies such as “Bacurau” and “Hostel.” Recognizing the metaphor won’t make this ruthless fable any easier to stomach as it calmly observes unrepentant Amos smugly getting away with murder.
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