Phi 1.618

This movie has an inexplicable charm. If You thought that the steam-punk has reached his limits, watch this one; it cares all the great elements of a the genre, but ads a hint of artistic fresco. Every frame is like a painting, every stage is thoroughly crafted, as a Renaissance painting of beaty and harmony.

The most discussed film in Bulgaria in 2022, it is greatly achieved fable of ironical and grotesque state of the post-communist countries and post-totalitarian societies. Even the "light" script and dramaturgy works well here - You don't need it, and as soon as you forget it, You just dive inte the charm of the film.

Great cast, especially Martina Apostolova and Vasil Duev are doing something really special in this film. Great, cult film!

If you want to see a heavily surrealistic, beautifully shot, Terry Guilliamish movie with incredibly well selected scenery, props and characters, see this one. What I did not like was the majority of sound was on the left channel only. Story was a bit too far fetched and there were some inconsistencies of the world Ushev was trying to convince us in. Main strength is the symbolism, starting from beginning and ending in the last frame. Since there is no more communist regime in Bulgaria, the story could be more clear and not have to be hidden as in Kin-Dza-Dza. In my eyes Phi 1618 is quite similar to Brazil and... Star Wars, mashed up togehter!

I don't believe writing this. I really dislike the bulgarian cinema. Having watched almost all of the recent bulgarian films, i developed like an alergic reaction to the bulgarian cinema. All depressing, social realist stories. But this one is something else. Full with fantasy, great artistry, wonderful cast. Martina Apostolova is an amazing actress, deserving a world-wide recognition. Vasil Duev, Nikolay Stanoev are making a great debut in this film. A trully cinematographic experience, destined to stay into the history of bulgarian cinema. 10 stars are just everything that this film deserves.

Unfortunately, all cinematic aspirations of this film fall flat. What we have is an unconvincing cobbled-together world, an uninspiring and simplistic storyline, and ham-fisted dialogue.

There is symbolism and pop culture references gratuitously sprinkled throughout the film, that do little to make this even remotely watchable. All actors look uncomfortable and deliver their lines with the pathos of a first-year student in Theatre school.

The scenery and some of the locations in a few scenes look promising, but they are butchered by the editing and the emptiness that fills most of the film.

The only reason to watch this film is Ivo Dimchev's one-minute appearance.

The film is a great achievemnt for the bulgarian cinema. Example of such a masterly executed craftmanship are rare for the bulgarian film industry. The camera, the decors, the acting, the costumes, the editing, the timing, the execution, everything works in this film. Even the week script helps for better enjoying this film charming appeal. Stirring a huge controverses in Bulgaria, being attacked by the both pro-Putin and alt-right nacionalist circles, also by anti-LGBTQ fascist activists, because of Ivo Dimchev and Martina Apostolova participstion, the film became an important cultural event in Bulgaria.