There might be millions of predators in the jungle known to man that complete the fauna research, yet there is a type of predator that never had a guidebook to be referred to. Forest Killer (Lesní vrah) introduces us to a version of a dangerous predator, who might have just provided specifications to stir our minds with utter calmness yet continuous dread.
Viktor (Michael Balcar) hikes up a hill with so much courage. He admires the presence of the trees, the composition of the mountain, and the scent of the greenery, which naturally nurtures his mind. He is then seen standing along a railway track with a side view that faces the jungle. He takes his time wisely to land his thoughts on his next step while silently staring at the serenity of the jungle. The next thing we know, he rests his head on the railway, preparing himself to fathom what it feels like to face danger at any cost.
The film, written by Zdenek Holý, is based on the true story of Viktor Kalivoda, who murdered three strangers in the Czech and Moravian forests in 2005. It does not follow the footsteps of David Fincher’s The Killer or Jonathan Demme’s The Silence of the Lambs in terms of presenting the killer but clamps on a full-length, precise examination of a man bound to execute his plans through proper willpower and continuous effort. While Viktor personifies himself as physically harmless, while matching actor Jason Statham’s charm and ‘alpha male’ persona, his determination still reveals a hidden depravity. The characterization of Viktor is almost a craze to challenge himself, a reflection to push himself to the unthinkable, destroying any atoms of comfort zone available in his bloodstream. He prepares to face fear, which he sees as his only acquaintance rather than an obstacle, through an introspective approach that starts from an inch and expands into a phenomenon.
Director Radim Špaček isn’t concerned with playing his directorial game along the repercussions or the scene of the crime much, as he is predominantly focused on the killer’s preliminary process of setting his mind, body, and soul to commit the crime. The director meticulously reveals the veiled preparation of Viktor, who starts from comprehending the setting and aura of the jungle up to the point of aligning himself with the control of weapons. There isn’t a rushed move, but a decision-oriented screenplay in which the psychological focus is solely on Viktor’s zero-error execution. He uses minimal words to fully cling to his conveyance of reaching his objectives through his continuous observations. One could say that he may be trapped in a moment, circling around multiple evil thoughts and striving for a resolution that seems rewarding to him alone – a process that shapes and propels him forward to the crime.
While Forest Killer may not appeal to everyone, it possesses an exclusive style of portraying the insanity and narcissism that form most murderers, as documented over time. While Viktor’s violence level may not match the intensity of Martin Bryant in Justin Kurzel’s Nitram, the film’s murky atmosphere evokes an intense sense of supremacy. A form of terror that never goes away lies in the sense of Viktor being at the center of the world, conquering every soul in his hands without a single emphatic notion of judgment.
There is always a gray area between the degraded, psychotic attempts and the advancements of withdrawing fear in a murderer’s initial journey. Radim Špaček captures these moments through this process, highlighting how these changes can leave a lasting mark on a person’s inner personality. Forest Killer presents the anatomy of a murderer in a challenging, unapologetic, and misleadingly serene manner, a juxtaposition that strangely resonates like a match between blood and flesh.
Our writer Niikhiil Akhiil is on the ground at the 7th Malaysia International Film Festival.
