The Guilty
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The Guilty

The Guilty make a virtue of necessity, recommended by popular wisdom. If there is no means or budget to demolish a building The Guilty on camera, let the director not despair: a close-up shot in the panic of those watching the demolition, a good sound edit and ‘voila!’, One less apartment block. Limitations sharpen the wit and as Rodrigo Cortés’ ‘Buried’ (2010) and Steven Knight’s’ Locke ‘(2013) did before, in’ The Guilty ‘the Danish Gustav Möller builds an oppressive and harrowing’ thriller ‘in a single space (a police station), with a unique protagonist (officer Asger Holm, played by Jakob Cedergren) and an equating of cinematic time to real time that places the film in the absolute present. Everything happens out of the field and, precisely, the impotence of the main character becomes that of the spectator, who attends the development of events with the same uncertainty and frustration.

‘The Guilty’ is an atypical procedural film that appeals to the viewer to reconstruct what happens off-screen; Möller’s debut feature, selected by Denmark in the race to the Oscars, builds suspense through information rationing, but while it works perfectly formally, the Danish director resorts to certain traps to deceive the viewer . Their goal: to show how easy it is to get carried away by preconceptions. Because rethought in hindsight, among the ambiguities Möller uses to direct the anticipation of the public – who always likes to go ahead and feel smarter than the chief inspector on duty – there is more than one red herring that hardly – if not from in a very forced way – can be reinterpreted in the sense proposed by the director.