A few years ago, I said that the acclaimed Locke was essentially
Dialogue and performance obviously steal the focus in Gustav Möller’s first feature, as he incrementally doles out backstory about Asger (who has to go to court in the morning, which is why he and his partner have been on desk duty) before Inger’s call comes in, then at strategic moments as Asger is trying to find new ways to help her. Jakob Cedergren is a fine anchor for the film, becoming ever more obsessed with this call, despite initially taking Inger for just another time waster. His performance hits many registers, from the cop who thinks he’s above this job, to genuine, if perhaps overly intense, concern, to a calming influence, to absolutely horror struck. We’re there with Asger every step of the way thanks to Cedergren’s work.
While he and the rest of the cast are great with the dialogue (particular notice must go to Jessica Dinnage, who is deeply sympathetic as Inger), Cedergren also delivers in the quiet moments between phone calls. Often in close up, we see everything play on his face as he wracks his brain for what he can do, who he can call next so he can help to find Inger’s husband’s van out on the road. The pauses are some of the most unbearable moments in the film’s extended exercise in tension, especially when they come suddenly. There is a red light on whenever a call is active, and one moment when we see it suddenly go off as the line goes dead, while it’s simple, is heart in mouth stuff.
Inevitably, though it’s just 85 minutes long, The Guilty does sometimes have to stretch to get to feature length and there are a few elements here, especially involving Asger’s partner, that could be tightened a little further. Still, most of the time it is effectively taut and there are a couple of moments of revelation that hit pretty hard. This may not be the most purely cinematic experience you’ll have at the London Film Festival, but if you’re looking for an unusual thriller it’s worth giving this one a look.
Knife + Heart
Vanessa Paradis in an Argento influenced neo-giallo with a (great) score by M83 and directed by Yann Gonzalez of the band? Seriously, how fast can I sign up?
To say that Knife + Heart sounded like it might be up my street is something of an understatement. I’ve not always been a fan of the neo-exploitation and neo-
Paradis plays Anne, a gay porn director who has just broken up with her longtime girlfriend (Kate Moran). A masked killer begins murdering several of Anne’s collaborators, events she first folds
The expected visual ingredients are all present and correct, from blood to neon (used especially notably in a naked homage to the opening sequence of Argento’s Suspiria) but what’s more novel is the film’s wit. Gonzalez has a lot of fun sending up his own sequences from within Anne’s
Knife + Heart manages to have fun with