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Justice is a detective thriller set in Poland during the late 1990s in the midst of rampant privatization and a shift in allegiance among people with deep-rooted communist sympathies.
The plot revolves around vengeance as Kacper seeks out to commit, who, after his mother committing suicide out of shame for being unable to repay her loan, has a deep attachment to his now orphaned little sister. He is first seen as a security guard.
Gadacz, an ex police officer who after disgraceful cut with the discredited communist regime is living in a rural area, is forced back to the city to solve a triad homicide in Kacper’s mother’s bank.
Gadacz is socially detached and slightly unkempt, but along with his matted hair and scraggily beard is full of wit, brains, and in great spirits. He is a fascinating and complex character, holding our attention throughout the entire story.
Gadacz now lives in the desolate snowy countryside, selling novelty garden gnomes, which makes him a avid supporter of his workers when they are being berated by rude customers.
Gadacz refunds the customer and tells him that his gnomes only accept good owners. It’s a rather creative scripted lie by Bartosz Staszczyszyn, who is trying to feed us to the kind heart of the central character.
In walks a powerful well-dressed woman, Prokuratorka (Magdalena Boczarska) who has connections to a minister of something that is unknown and assigns Gadacz into a triple murder case which promises to return his job and reputation it lost. All that he has to do is act fast, before the bank gets privatized.
Gadacz accepts the challenge and offer and in turn, goes to meet his partner on the case, Janicka (Wiktoria Gorodeckaja), also known as “Pocket”, who has gained fame from her main police work to date capturing pickpockets.
The chemistry of the two characters improves as to show how their actions heightens the bonds or removes obstacles that stand between them.
In flashbacks, three women, who are bank workers, are shot dead, silenced for having heard one of the three masked figures say their name.
Cash has indeed been taken, but not enough to ensure that excessive violence was required. What happened?
Gadacz is remarkably observant in his intricate details, claiming Kacper is the leader of the three, thus turning the question from bothersome to argumentative. It becomes a race of time, and story becomes solely one of how quickly the evidence needed to put a conviction through can be found against him.
Through bartering security guard shifts, Kacper has built an alibi where he is supported by two associates, unfortunate Bartek (Lukasz Szczepanowski) and Marek (Stanislaw Linowski), but which does not pass the test of scrutiny Gatacz offers.
The anguish of his personal life deepens when he is unable to nw what is left of his family, resorting to senseless, futile extremes like trying to snatch his sister away from some other family who is about to adopt her from an orphanage.
Satisfactorily located in the bleak Polish winter Michal Gazda’s film is turbulent and quite depressing, but the humanity of the people is in contrast with the life they lead, and it is indeed interesting to note how some features do not work for them, and what is justice if there is any.
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