Omnipresent

Makes you think about our "CCTV" times and our "un-cctv-ed" souls. Very good acting, especially the two very young guys (Tony Minassyan and Vessela Babinova). A different stance on Sofia - more vibrant and European than a post-socialist city.

No wasting of screen time, every scene is dense and meaningful.

Excellent, thought-provoking, engaging film with superb acting and beautiful photography. It raises serious questions, not only about the ubiquity of CCTV, but the morality of knowing and the burden of it. Without secrets, normal life is not possible.

"Omnipresent" (2017) is the strangest Bulgarian movie that I have ever seen - a unique idea in the Bulgarian cinema, good acting, but there are so many unnecessary scenes which just can't develop the characters. Everything is so slow, realistic, annoying and silly - these constant sex scenes brought the mixed feelings that I had after watching the film.

Emil (the main character) isn't the great hero who saves the day, his story is so real and imperfect. Relationships, job, family life, spicy reactions and emotions - they actually made me give 6/10. He was simultaneously a badass and a charming funny gentleman who follows all the actions of his father-in-law.

A movie full of sex scenes, even septuagenarians have sex. I can't say that it was boring, in some places it was really pleasant. However, it presents a false image of Bulgaria, the reality is different, I know what I'm saying. It is not possible that the characters did not go through any less well-kept neighborhood, I did not see poor people, old cars, everything is an image like in commercials.

Long after the end of "Omnipresent," I still couldn't come out of a trance overwhelmed with thoughts about what awaits us beyond tomorrow's dawn. Painfully absorbed in the screens of smart devices, we slowly and surely miss the life happening around us. The dilemmas of morality were galloping mercilessly out of the screen.

In the film's almost imperceptible 120 minutes, I did not find myself shaking my head once at the all-too-familiar Bulgarian cinematic didactics. On the contrary, I enjoyed a perfectly and fully realized vision - dramatic performances and cinematography on a world level, and tension in each scene so strong that the lump in my throat broke with each micro climax. Skillfully built dramatic moments, spiced by excellent jokes, thanks to the exceptional work of the dialogists.

"Omnipresent" runs so smoothly it's almost as if it were a well-shot reality. The film unrelentingly played with my heartstrings and my mind. One moment it was tossing me wildly from one of life's secrets to another, and in another it was trapping me tightly between four walls – behind which existed far too well known and fiery occurrences.

"You should only know as much as you can bear. Even one truth too many can kill you"

"Omnipresent" rushed me into infinite self-awareness, showed my fears, and pushed my shame towards the surrounding world almost to a breaking point. It returned my belief in our native cinema's tenacity for development, showing me a non-standard manifestation of the interest in the life of others.