Even though there’s no doubt that technology has improved the world when it comes to communications and protection, many are concerned of the effects that the potential abuse of that technology and its effects on the privacy of regular citizens. Surveillance is one of those ramifications which anybody can take advantage of with the right equipment, making the unsuspecting target a prey. Omnipresent (originally titled Vezdesushtiyat), explores just such a case.
The film, directed by Ilian Djevelekov, is centered on Emil, a writer and owner of an advertising agency who gradually becomes obsessed with spying on his family, friends and employees with hidden spy cameras. What starts as an innocent hobby turns out to be a total disaster as Emil abuses his new power and eventually comes to realize that some family secrets are best not revealed.
Emil lives a good life, with a nice family, a beautiful home, and a rewarding job as a director of an advertising agency, while also pursuing a career as a novelist. And even though he appears to have it all, he feels he wants something more. One day, after his father’s antique collection is stolen, he becomes obsessed with the idea of using spy cameras as a surveillance tool. That obsession becomes a sick way to feel pleasure and power.
The film is indeed an important commentary on the dangers of surveillance. People can choose the dark side of any good intention and forget the consequences of those actions, raising the question of why normal, good people suddenly decide to do bad things.
Director Ilian Djevelekov develops different layers of story via subplots in a film which is ultimately about technology as a powerful tool, sometimes a necessary one, that can easily go out of control and change anybody’s life if used the wrong way.