In spite of charming outward trappings and solid surveys that pitched it as a women’s activist twist on Steve McQueen’s “Disgrace,” ” Zurich” got less universal introduction than it merited. With a less quick introduce and a none-as well reminiscent title (which does not allude to the topographical area one may accept), “Zurich” could battle to match its unobtrusive achievement. Yet it confirms and merge Polak’s particular directorial personality: Despite a switch in cinematographer, the film’s striking stylish with starkly etched pieces and hot-icy shading contrasts counterbalancing the account grime is pleasingly reliable with that of its forerunner. In any case, a theoretical opening scene, fusing a waterlogged auto and a live cheetah, strikes a note of teasing surrealism that the film never returns to.
Polak takes after this strong starting gambit with a title card pronouncing the beginning of “Section Two” and soon thereafter viewers would be forgotten for diagnosing the procedures with a particularly unreasonable instance of claim.