A fantastic science fiction thriller, Restore Point’s world-building is inspired by this very ambitious film. You will be sure to keep a keen eye out for director Robert Hloz and lead Andrea Mohylová’s future work.
Prague, 2041. The world is on the cusp of crossing a threshold into a new era of human existence because unnatural death has been eliminated. Those who die can be resurrected, but only if their memories have been backed up on a cloud 48 hours prior. On the eve of the corporation going public, one of its founding members is brutally murdered with his wife, and restoration is impossible. Now, a detective with an axe to grind (Andrea Mohylová) must infiltrate the extremist group The River of Life, Luddites, who believe that death is sacred, and uncover the corporate scandals and dirty secrets that lay at the centre of restoration.
Not for many a year has there been a science-fiction film that creates such a world that you automatically lean forward as the camera explores it? You realise the script is shooting for the Moon from the outset, and nothing else will matter. For the most part, it succeeds, but it is also in its grounded nature that Restore Point becomes the type of captivating thriller we love. A film that asks all the right questions about how far we should go with technology, whether our own future is heading down the same past and other strikingly ethical questions. It may not answer all of them, but you feel it never wanted to. It came to provide an indicator of what could be our future and whether we are comfortable with such a vision.
As great as the world-building is in Robert Hloz’s film, the main thread we are given is fairly straightforward. A grieving, stoic detective uncovering more and more of an organisation whose work may not be as ethical as the world would have hoped. Never does it stray from that narrative; to its credit, it holds your attention. A careful balancing act is at play here, and for most of it, it successfully keeps us at arm’s length. Briskly takes us through the world and continually moves the plot as long as we try not to be transfixed by the world and its advances that are all around us.
This muted backdrop is complimented by Ondrej Lipensky’s production design and Filip Marek’s camera. Technological advances, for example, do not stand out as you would expect. Here, they are such commonplace that the idea is that we should not be caught up in them, be it moving newspapers, holograms, or the restoration technology itself. We are able to glance and move on, even if we have an unnumerable amount of questions to ask how specific elements work.
However, there are occasions when we become a tad distracted, which can be when the film gives itself moments to get a breath. So much is thrown around here offhandedly that you would love for it to pause and let us learn more. Admittedly any good sci-fi should do this, and too often, we are spoon-fed worlds and expect to be told how everything works and its history. Here we move on unless it has some importance to the story. So, we are left with some lingering thoughts and queries that may never be quenched. In truth, this is as close to a fault as you will find in the film. From top to bottom, everyone is solid to fantastic.
Not only should Restore Point be the breakout moment for director Robert Hloz but also for his lead Andrea Mohylová, who is also in her feature debut. For a debut, Hloz ensures his sci-fi noir sticks the landing, something such high-concept films often struggle with, and with Mohylová’s cynical Em, we have an actor who is sure to get a lot of attention for future films. In her performance, she is a protagonist we can hang our hat on and seeing as she has to do so much of the heavy lifting throughout the film, she is just as key to its success.
The worst thing about Restore Point is that you just know there is going to be an English language remake down the line. An utterly pointless one at that. But it will happen, and we will all be left mystified by its existence when this excellent film already lives. Restore Point has a lot of influences on its sleeve and appears to wear them proudly as we see a multitude of Philip K. Dick themes flash before our eyes. The balance is right, and this is an exceptional achievement for a first-time feature director. Catch it as soon as you can.
★★★ 3/4
The Fantasia International Film Festival takes place in Montreal from July 20th through August 9th.
For more of our coverage of Fantasia 2023, please see below:
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