by Joe Hammerschmidt
[NOTE: This film previously reviewed as part of the 2018 Seattle International Film Festival]
I probably won’t need too many words to describe what had played out as one of the more unique single viewing experiences in a theater this year. Even less surprising, it was right at the start of SIFF, only the second film attended during press screenings ahead of the festival actually starting, so needless to say this film truly set the tone for what the rest of the fest could be. On the surface, a film like Gustav Möller’s The Guilty, a Norwegian drama that screams similarities to… let’s say Phone Booth, had it not been accessible at festival time, had it not earned its deserved post-Sundance buzz where it premiered to grand acclaim, I would’ve easily brushed off, as the typical moviegoer would. As it finally opens in Seattle for what may only be a one-week run (perhaps two), it’s likely to miss out would be a grand sin, especially with a rather short runtime packing in so much information. It moves really quickly, palpates quicker, and simply has no excuse to slow down until its work is finished.
The Guilty establishes its unique, intense premise quite rapidly. Decorated police officer Asger Holm (Jakob Cedergren) is handling late-night alarm dispatch, his last shift ahead of a trial that could shape his future, caused by a likely misstep during an on-beat case. With mere minutes left in his shift, his last call may seem routine, but instead, it’s that of a distressed woman, who does sound like she had been kidnapped by her aggressive ex-husband, leaving their two kids at home questioning everything. The woman, Iben (Jessica Dinnage), we never see, but her voice resonates throughout, perhaps echoing through the small room where literally all the action occurs.
Literally, it’s all a single room, and the intensity rests square with Cedergren’s portrayal of a rather broken man, trying to achieve vindication for a crime he felt he wasn’t attained to, as well as regaining a smidgeon of his life’s purpose when distinguishing the value of good over evil. Once working passively, now with the right motivation, Asger’s more or less playing with fate to solve this case, all on the phone, and with an unstoppable ball of stress standing behind him. It’s a character-driven story at its core, therefore, mostly attributed to Cedergren’s performance, and Jasper Spanning’s (The Elite) penchant for soul-exposing closeups, by which the entire film subsists on.
Möller, a relative newcomer as far as directors go, makes a captivating feature debut, accompanied by veteran Norse screenwriter Emil Nygaard Albertson as his co-scribe. Needless to say, they do not treat their film as a traditional work if it’s all just in one room, and communique with the outside world is all done without face-to-face measures. Think experimental theater, shot intimately to mask any of the likely inconsistencies that should spring up and cut quite quickly in the hands of editor Carla Luffe (also involved on The Elite) to heighten the sensory reaction. And it’s all in the guise of an honest cross-examination of one’s morality, whether their job title qualifies or justifies their extensive actions to perform a necessary task. With time not on his side, Asger understands the consequences weighing down should he fail, and given his prior convictions on the job, he’s not one to fall into a similar trap. He goes to great lengths, and a small amount of property damage in that single room to accomplish his rather simple goal of reuniting a family, keeping them safe, putting the unneeded element, the possessive hubby to stand his own trial.
Even without the need for an on-screen car chase, weapons drawn out, or actual proceedings in a courtroom, aside from those alluded to, one can feel the intense emotion of our hero, or should it be antihero? Cedergren, an established Norwegian actor, I predict will make fantastic inroads in America before long, as he truly embodies the spirit of his character, and that dedication to push forward when all seems a foregone conclusion. I could sense the equivalent of a hypnotic trance when he appears on the figurative stage that is the meager call center office, unafraid, and certainly unwavering from expressing his hatred, his hurt, his overwhelming concerns, they are all merited. And to witness all of that through the lens of a first-timer in the director’s chair, I’d consider that a bonus.
Do be warned, The Guilty moves really, really fast; it’s a bit short for its type of film, and also rather big for its britches in spots. Regardless, I knew as I had walked out on the theater months ago, that I needed a moment to catch my breath, perhaps a long tall sip of water to restore my equilibrium. It is dizzying, it is relentless, a genuine heart-stopper that truly deserves to be seen in a theater if at all possible, with zero distractions. It demands, and therefore rewards one’s full attention as all the smaller pieces of the puzzle Asper attempts to solve fall conveniently into place. It may not satisfy those looking for a more traditional piece of action thriller, yet if anyone is craving a film that fixates more on morality in their work and can keep the potboiler, springy coil momentum going while confined to one location, and allow a better idea of the decisionmaker’s thought processes, this may be your film. (A-)
The Guilty plays in Seattle this weekend, one location only – SIFF Cinema Uptown; rated R for language; 85 minutes.
