I like Nordic movies, the pictures are cold and quiet, and the stories face it directly.
Thinking of spending a week in Iceland, the car was driving on the mountain roads with no traffic, and the vast mountains were ups and downs, and all you could see were sheep and haystacks. Living in a world full of nature has another kind of loneliness, the kind of confinement that seems vast but has nothing to talk about.
The story itself is simple. After receiving a strange phone call, Asger, an alarm operator, believes the woman on the call has been kidnapped. In order to try to rescue the woman, he moved his emotions into it step by step, and finally discovered the truth of the story.
The unfolding of all plots relied on Asger's landline and mobile phone; while the audience quietly became an eavesdropper, and together with the protagonist, made up the truth of the story in the emotions of the voice.
And when the calling heroine, Ibn, becomes the main narrator, we and Asger both become emotionally invested, naturally empathizing with the weak, thinking that the man who never speaks in the story is a downright violent By. But the director reversed the story. He told us that the truth of the world cannot be judged in a single way, that all the weak and the strong are excusable, and the current narrative of any individual cannot reflect the whole story—— Only those who lived through the events could find out for themselves whether the moment Asger pulled the trigger was motivated by evil or good.
There is no human interaction in the picture of this film, Asger is always in a work environment, but doing things beyond his own job. At the beginning of the picture, the director depicts a colleague who is eating a hamburger and waiting to get off work. Asger, who answers a private phone call at work, is warned by his boss. These details show that Asger cannot strictly abide by the rules. Immediately afterwards, the director did not repeat any further details, but directly started the main story line, letting the operator Asger strip away his original monotonous identity a little bit.
As the plot progresses, Asger moves from an open working environment into a closed office. The transformation of this space represents his gradual departure from his identity as an operator. He is no longer the operator who delivers information, but a warrior who wants to guard justice. .
Ingeniously, Asger did not seek the help of his colleagues at the scene, he clearly understood the opposition between his identity and values. So that dark office was actually the exposure of his inner light, and at this moment the audience became nervous, worried that Asger's behavior of crossing the line would be discovered, and that the protagonist of another parallel story on the phone was tragically killed.
The biggest feature of Nordic movies is the heat under the cold. The blood of Asger's justice corresponds to the indifference of his work partners, and the burning and collapse of the family on the phone corresponds to the government's inaction. Especially the woman assigned to work on the phone with Asger, she is always professional and calm, flawless but impersonal.
Many people say that this film shows the self-redemption of the protagonist Asger, but I feel more of a human temperature shown in the film, which is even more precious in the invisible dialogue with each other. Reminds me of many situations in my life. The people who help me in times of crisis are the strangers I meet for a short time.
I remembered that Iben said on the phone that she likes to go to the aquarium, because when walking on the blue seabed, you can enjoy the undisturbed silence. This silence is not isolated indifference, but every kind of life wanders in its own peaceful world, but is related to each other, coming and going.
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