Like its predecessors, 'Pusher III (2005)' is, essentially, a comedy of errors where the errors are fatal. Nobody trusts anybody else, which is why even the most simple - not to mention genuine - misunderstanding can often result in nothing short of death. Of course, double crosses do occur in the movie's world of drug dealing and other dodgy business practices, something which makes distinguishing between honest mistakes and malicious decisions difficult for practically all those involved. It also doesn't help that these people all put on a veneer of kindness, appearing as a friendly face and appealing to each other's assumed 'better nature'. Milo, an ageing drug lord struggling to maintain his relevancy and keep up with the pace his lifestyle demands, is perhaps the epitome of faux friendliness; he even tricks the audience into thinking he is a nice guy. His smile belies his true, ruthless nature and his Aunty-esque cooking obfuscates his capacity for violence. He isn't a nice guy, but he wants you to think he is. That doesn't mean he isn't good to his family, however. In fact, most of the picture sees him preparing the food for his daughter's expensive twenty-fifth birthday party. It takes place over the course of a single day, following Milo's exploits both as doting dad and cautious criminal. The conflict of the feature often comes from the way in which his two lives encroach on one another. As his daughter's party settles into place, his criminal enterprise begins to destabilise. This is due to, as I mentioned earlier, a series of misunderstandings. It's also due to the fact that our so-called hero can't speak Danish quite as well as those around him, leading to frustration on both sides. A deal goes wrong and a language barrier prevents it from being repaired; a deal is struck and a language barrier prevents one side from understanding its true nature. Communication, or lack thereof, and mistrust are the prevailing themes here. As is stress, which builds and builds alongside the protagonist's harmful desire to break his five-day clean streak and smoke some heroin. In some ways, the movie feels more like a slice of life than a straightforward narrative, though those two things obviously don't contradict one another. This is mostly due to the way in which it ends. I won't spoil things, but I will say that it sort of just fades out. This is a little disappointing when it occurs, primarily because there are several plot threads that feel as though they're left loose. However, it's actually quite a strong note on which to finish. It ends with a sigh, almost an admission that the protagonist's life can't continue this way. It caps off the overall narrative and reframes it as a realisation that something needs to change. The feature isn't as lethargic as this may suggest; it's as often overwhelming as it is genuinely funny, balancing its stress and tension with its dark comedy surprisingly well. It's the funniest film in its trilogy, for sure. That doesn't mean it isn't grim, though; it features the goriest sequence in any 'Pusher' film. It also isn't afraid to explore the immoral actions of its characters, presenting them in non-judgemental way without coming close to endorsing them. It's an art film at its core, despite its rough exterior. Its protagonist is trying to survive in a metaphorical sense, trying to stay afloat in a world that no longer needs his skills while somehow providing his daughter with the life he feels she deserves. That's a rather poignant theme, even if it isn't as resonant - or, I suppose, apparent - as that found in 'Pusher II (2004)'.
Review of Pusher III
