Shorta is not one of those slow, static and steel-blue thrillers, which one generally associates with his Scandinavian origins, he is of the sanguine and mobile kind. The film opens with a crush: a knee on the neck and a “I can not breathe” uttered by a dying kid. Whitewashed by this show of force intoxicated with its own impunity, the suburbs of Copenhagen are on the verge of implosion. “You protect the country from chaos”, They hear themselves say the police in the morning of a white and dry day. Two agents were thrown in the pasture at the local IGPN, a third is in the crosshairs. This is the one that sticks to Shorta, Purgatory film where Mike Anderson, stocky, nervous and racist, sees himself sticking a chaperone teammate guaranteeing a certain temperance. Mike is at the wheel and, from spinning to provocation, leads the duo into the city transformed into a forbidden zone so as not to aggravate the situation. Baston of glances, demonstration of virility, and then a control with the facies climbing in stony. The cops find themselves stranded, with a handcuffed kid on his arms. The western in uniform turns behind closed doors, animated by two threats on which the filmmakers Anders Olholm and Frederik Louis Hviid alternately support: the silent hatred which corrodes the forced cohabitation, and the furious appearances of the rioters. But by dint of playing too much Assault in large groups, Shorta forget to look at this district which dissolves in an overexposed image. Its inhabitants ? A trader overwhelmed by thefts here, a weird haired pit bull there, a worried mother, quickly … The others, the “dirty races” as Mike repeats, thus boil down to this kid-suspect being arbitrarily lugged around and to these masked, furious and motorized hordes. Barbarians and dealers, hatred locked in the ZUPs. “We do not consider Shorta like a political film, but simply like a film about people ”, explain the filmmakers with the same relativism that oozes from this film which explains that racists, there are good things as long as we find a common language (football, obviously), and that the burrs are only regrettable slippages of ‘honest, scared workers. The suburbs are once again summed up in this incomprehensible maze that you have to flee stomach to earth.
Shorta by Anders Olholm and Frederik Louis Hviid, with Jacob Lohmann, Simon Sears, Tarek Zayat… 1 h 48.
Source: Libération by www.liberation.fr.
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