I have rated this film 7/10, but I'm honestly not sure I would recommend it to anybody. It left me feeling uneasy and a bit sad. However, is that not the hallmark of a good film? One that evokes strong feelings?

The film leaves some unanswered questions, such as what drove the protagonist to do what he did. Though, it is unclear if he even knows.

It is apparent that he has had some sort of a breakdown and that he is lonely. However, some of his actions don't fully make sense, but then perhaps they're not supposed to, to the rational mind. I think the bleakness of Scandinavia in what must be early spring or late autumn adds to the depressing ambience.

Gabriel Millsom.

This film was interesting, but extremely disturbing. Obviously that was intentional. We are never told the "why" of anything that takes place, except for some rather lame allusions.

This is not a film for the average viewer looking for a well explained, believable plot. Au contraire. This plot is intentional chaos.

A 30-something man wakes up in agony with blood in his hands and clothes, only to get up and carry on ahead through his day at break-neck speed, ignoring all signs of disaster. A fever-pitch intensity follows that escalates into claustrophobic desperation within a first-person-perspective: what the hell has occurred?! OK, imagine the worst possible personal tragedy occurring the night before to a character like that... well, I give you 2 guesses! In all fairness to filmmaker Jesper Ganslandt, but the scenario of what has happened in this Swedish thriller-drama is to me VERY obvious after 15 minutes.

What is NOT obvious, though, are the surfacing, immediate reactions and actions of a person's mind after such a tragedy. And that turns this into a highly realistic, quite spellbinding state of shock for 80 minutes. The case-solving itself is not relevant, and for that reason, the greatest asset is a terrific and highly credible performance by Olle Sarri in the lead. He dissolves bit by bit in front of us through his 24-hour ordeal, like a modern-day Raskolnikov, but without the philosophical aftermath. So, we have indeed a thriller - but also a psychological drama.

And there is my main quibble: with a story (and an ending) like this, writer-director Ganslandt also leaves out all surrounding details like backgrounds, bonds, motives, etc. It cries for a social commentary context and an epilogue. I know its enclosed format certainly makes material for tons of discussions, but it leaves me a bit wanting.

All in all, quite impressive and a needful change of pace for the more poetic "Farväl Falkenberg"-filmmaker!

6/10 from Ozjeppe.