El culpable
Den skyldige
The Guilty
The Guilty
The Guilty
Director:
Gustav MöllerCámara:
Jasper J. SpanningReparto:
Jakob Cedergren, Jessica Dinnage, Omar Shargawi, Johan Gotthardt Olsen, Jacob Lohmann, Katinka Evers-Jahnsen, Jeanette Lindbæk Birk, Simon Bennebjerg (más)Sinopsis(1)
Asger Holm, un exoficial de policía, ha sido suspendido de sus funciones y relegado a operador del servicio de emergencias. Durante su rutinario turno de noche, recibe la extraña llamada de una mujer aterrada. A pesar de su reacción de sorpresa, Asger se dará cuenta de que la mujer al otro lado del teléfono ha sido secuestrada, y es entonces cuando comenzará la búsqueda. Recluido en su mesa en la centralita de emergencias, Asgar tendrá que localizar y ayudar a la mujer en peligro con la ayuda de sus compañeros en todo el país. Conforme avanza el reloj y pasan los segundos, Asgar tendrá que enfrentarse no sólo a la precipitación de los acontecimientos relacionados con el crimen, sino también a sus propios demonios personales. (Caramel Films Esp.)
(más)Reseñas (12)
A beautiful, unintentional slap in the face of our current filmmakers, who whine all the time that they don't have the money to make films and when they do get it and make something, it's mostly crap. Here's proof that it's not about money – all you need is an idea, a vision and a skilled craftsman. The almost 90 minutes feel like 10, it has tension, it has an unexpected twist in the second act or so; simply, as I've been convinced lately, the Danes are on fire!
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It’s about the premise, the filmmaking craft, the absolutely claustrophobic atmosphere of a call center. Sure, there’s a whole lot of illogical situations, but I don’t really care. I sat there at the edge of my seat for 85 minutes, completely glued to the screen with suspense. The Guilty has amazed me with great dialogues, a flawed main character and moments that really made me feel something. Another minimalistic but memorable, high-quality piece.
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Radio drama of the year 2018. Nicely civil in a “Lindholm" way. At the same time, however, it is true that precisely because of civility, all the twists and turns on which it sadly relies too much are from the very beginning quite obvious. And, unfortunately, this includes the occasional logical lapses that break down the civility. But again, it doesn't matter that much, because it will soon take on such a captivating pace that there's still no time to deal with them.
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A solid debut and Danish one man show starring Jakob Cedergren. The main character is a former police officer with a troubled past who works on the 112 emergency line, and just before his shift ends he gets a call that turns his night into a stressful, exhausting and challenging one. The film takes place entirely in the office and the camera never leaves the protagonist's side for a minute. It features a realistic performance backed by decent dialogues and a fine plot, and the director delivers a solid twist at the end. The film is indeed nicely suspenseful and emotional in places, but, it didn't pull me in as much as I had hoped. Yet I give it a thumbs up and it's definitely worth seeing. 75%
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A subjectively suffered good deed and Intensive game of contrasts. Both in visual terms from the light and darkness in the two workplaces, and in auditory terms from the nervous silence and bone-chilling vibrations or ringing tones. However, I would consider its most attractive asset the semantic contrast, where the lone sentence on the recording can affect the viewer completely differently every time. I won't argue that it's more than just a suffocating genre film, but it's so well done that I will gladly join the growing buzz.
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When an entire movie is based on one guy, you need to like him – one way or another. I had pretty mixed feelings about him, though. While I thought he gave a good and believable performance as an actor, I was incredibly annoyed by his superiority and his treatment of his colleagues and the people on the other side of the line. It was quite distracting and as a result I was only interested in what was happening where we couldn't see it. You could say this film is about a single moment in time. And that worked for me. But then it sort of awkwardly fell apart, and suddenly it was over, and that just wasn't enough for me. A weaker 4 stars
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If someone told me before watching The Guilty that all it takes is one room, one man, and a telephone to create a riveting film, I would have been significantly skeptical. Nevertheless, it works. Thanks to a clever screenplay and a focused and absolutely natural Jakob Cedergren in the role of a police officer, you will witness a minimalist film that has the ability to emotionally shatter you into pieces. The Guilty is an inconspicuous and intimate piece that can easily go unnoticed in the flood of big-budget, visually spectacular action movies, which would be a shame. Therefore, I recommend listening carefully to the voice of a man who can discern, amidst a series of annoying and unnecessary phone calls, the one that leads to a cruel revelation and, with its darkness and hopelessness, breaks free from the routine of emergency hotline workers. Overall impression: 95%.
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Very nice, tense and surprising. The beginning and the first call with the kidnap victim are gripping, but the pace gradually crumbles due to the not very interesting personal storyline, but the credible dialogues and the strong (though not shocking) twists keep your attention throughout the decent runtime. The original way it casts doubts over who’s guilty and not guilty and the work ethic prevail over the pure formal qualities and the authenticity, and it’s not bad at all. 75%
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Un drama minimalista prácticamente centrado solo en el personaje principal, del que el espectador no aparta la vista durante hora y media y a través del cual se le transmite toda la trama y los discursos de todos los personajes secundarios. La historia se basa solo en los diálogos del protagonista a través de la línea telefónica y es perfectamente adecuada: sin sangre, sin acción, sin efectos (me imagino lo rápido que cubrirá costes esta película). Así que aprecio el concepto, pero hay algunos agujeros ilógicos en el guion, y hacia el final no nos libramos de un cliché cinematográfico realmente cansino, lo que estropeó algo mi experiencia de la película. Sin embargo, sigo admirando a los creadores por haber conseguido, una vez más, realizar el proyecto tal y como decían: «Dar mucha música por poco dinero». [KVIFF 2018]
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Aunque la cámara prácticamente no sale del protagonista y nunca sale de su puesto de trabajo de la central telefónica policial, por lo que este thriller es extremadamente emocionante e incluso capaz de sorprender con giros inesperados: y prácticamente se la pasa hablando por teléfono. Sin embargo, el espectador descubre poco a poco no solo el caso criminal de la llamada de la mujer secuestrada, sino también el trasfondo y el carácter del protagonista, incluidos sus problemas personales y al mismo tiempo la rutina psicológicamente exigente de los operadores de líneas de emergencia en general. Mucha música con recursos al mínimo, cámara al máximo y también los efectos.
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The Guilty could be described as "a lot of music for little money", even though there is hardly any music in it. The voices of the people that Asger Holm, brilliantly portrayed by Jakob Cedergren, hears on the line gradually kickstart the viewer's imagination to the maximum. At least mine was working at full throttle. In short, this emotionally charged film had me riveted to the screen. I would never have believed that one actor, one room, and one imaginatively conceived family disaster would be enough. (90%)
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