An adult goes through what he started, especially when he is encouraged by vengeful retirees who have a complete weapons depot

I was a little out of my role when Doma, an all-terrible criminal, got on the 112 bus to visit his grandmother in the housing estate. My role was to be a spectator and experience both the story and aesthetics of The Grandson. This is what made the trip on the Ikarus ancient vehicle, and not because I know that there are more modern constructions between Thomán István utca and Bosnyák tér.

for, as was evident from some of the earlier scenes, Doma, the criminal smeared with every skin, had an otherwise high-quality car, so he could have approached his grandmother with it as well. And if she wanted to avoid her grandmother learning that she was running for luxury despite being unemployed, she could have parked a few streets away. Or if the girlfriend had to leave the car there for some unknown reason, she could have taken a taxi because she had something to shred into milk.

and to any kind of reasoning, because the first full-length work of Kristóf Deák is already characterized by biceps and ambiguity. The creator of the Oscar-winning short film Everyone, which everyone saw a few years ago, seemed unable to decide exactly what kind of work he wanted to make.

Building on the Oscar in question, there was considerable publicity around the granddaughter before the premiere, and it seemed from the trailers-teasers that a kind of thriller may be spiced in Hungarian, but the result was different. Producer Tamás S. Zákonyi used to say that the film “doesn’t boldly build on a genre, we didn’t say it was purely a thriller, crime, black comedy or drama”, but I didn’t read that before watching it, only afterwards, so meanwhile, I also had to wonder if it was a serious mistake that some of the important series of scenes seem parody of themselves or intentional. If the latter is a good solution, I think it is also a problem, as it is impossible to put solution keys in the head of every spectator.