Because the idea was refreshing, I was ready to swallow all those marxist contradictions, or the fact that the girl beats everyone and there are no consequences (the police don't come, her colleagues treat her the same way), or her past so mysterious and well-constructed, like in Van Damme movies, or the embarrassing scenes with the Korean boss and the shy maid.
But then came the scene in which our heroine of the class struggle beats up some Polish drivers, whose only fault was that they had been contracted to transport the machines from the factory. Typical of American scenarios, where the need to feed the belligerant hero with faces to stump is above the humanity of the collateral victims.
Plus the fact that she breaks the driver's arm, after which he continues to hold the steering wheel with that arm, and even tries to hit her again, with the same arm...
But then came the scene in which our heroine of the class struggle beats up some Polish drivers, whose only fault was that they had been contracted to transport the machines from the factory. Typical of American scenarios, where the need to feed the belligerant hero with faces to stump is above the humanity of the collateral victims.
Plus the fact that she breaks the driver's arm, after which he continues to hold the steering wheel with that arm, and even tries to hit her again, with the same arm...