Last we checked, Hamlet was never called a “faggot” in the original text. Still, Martin Sulík’s modern-day Slovakia-shot drama comes rife with nods to the tragedy—never too on the nose and often freshly reimagined. Heavy-lidded Adam (Janko Mizigár) takes on a huge load after his father is found dead on the roadside; meanwhile, his mother remarries a boorish petty criminal (Miroslav Gulyas) and tensions simmer. Best are the film’s tender ghostly visitations from Dad, evoked with a minimum of artiness, and the authentic, impoverished locations. Less successful moments strain for poetic grandeur: One of them includes a runaway ostrich, harshing the mood.
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