For some viewers (I would like to think that the same thing happens to us all) going to the cinema involves many things, but fundamentally the desire to isolate you for a while from the real world, to appear in reverie, to be passionate about stories that are not yours and that you They keep hypnotized, with which you connect emotionally and that provoke unpalatable sensations. In the best case. But I'm also happy that they entertain me. Nothing lover of experimentalism, that presumably audacious, avant-garde and revolutionary terrain, which lends itself to so much imposture, that nothingness swim, I am not so stupid or dogmatic as to ignore that with an unusual language, and very risky, unique stage and a visible character that communicates with others that we only hear sometimes, you can achieve exciting cinema, magnetic or very worthy.
Address: Gustav Möller
Interpreters: Jakob Cedergren, Morten Thunbo, Jessica Dinnage.
Gender: thriller Denmark, 2018
Duration: 85 minutes
It happened in the splendid film by Rodrigo Cortés Buried (Buried). Filmed in the terrifically claustrophobic space of a coffin, with a man locked there and who has a mobile phone (and batteries have the duration they have) to beg for help abroad. The action of Locke It was developed entirely inside a car, during a two-hour trip from Birmingham to London, exclusively played by an anguished man (what an admirable and chameleon actor is Tom Hardy) who talks on the phone with his wife, his children and their bosses and its employees in a construction company and the forgetful lover of a night that is going to give birth to a creature of both.
The telephone is the only thing available to a police officer temporarily assigned to the Emergency Department to help a desperate woman who asks for help, having been abducted by her husband and fearing for the lives of their children, in the very interesting The Guilty, debut film by a Danish director named Gustav Möller. There are different shots in this film and at the end the camera accompanies the policeman towards an exit door wrapped in twilight, but fundamentally what we see for ninety minutes is the face of this man accompanied by headphones and trying to find a successful solution to that tenebrous circumstance. And during all that time I am within what they are telling me, I am distressed by what happens, I fear its outcome, it transmits the suspense to me in such a frightening situation. And it may happen that nothing is what it seems, that the progressive revelation arises that the receiver of that distress call also accumulates very serious problems in its existence, that multiple and disturbing nuances appear in a narration that could be linear.
I see The Guilty in the company of someone who is an actor and director. He follows the film with as much interest as mine and at the end he comments: "It's the kind of project that any producer rubs his hands with". Normal, the budget is minimal. You need a good script and a truthful actor. Also that the voices, the tones, the characters with which this man connects on his phone give off credibility and create discomfort in the viewer. There is no music (except in the final credits), only sounds that create a threatening atmosphere. And I repeat my ad for navigators: this is a guy in a room talking all the time over the phone. For my part, I liked to meet you. And I do not notice that I have become buzzed.