Glasgow Film Festival 2021: SHORTA

Although the year 2020 will almost certainly be remembered mostly for the rise of COVID-19 and the subsequent socio-economic ramifications of that, it was also a year in which the role of police was questioned. The death of George Floyd and the rise of Black Lives Matter mean it’s an incredibly relevant topic to address, and it’s interesting that Shorta, the Danish movie directed by Frederik Louis Hviid, and Anders Ølholm begins with the casual police brutality of an ethnic minority. Through this action we’re able to understand the implications on both a personal level – as it affects the lives of police officers who may or may not be sympathetic to the brutality – and on a sociological level, as an entire section of the (fictional yet completely believable) district of Svalegården is closed off to police officers whom the community of mostly ethnic minorities understandably mistrust.

Don’t Go To Svalegården

At the beginning of Shorta – which is the Arabic word for police, although the US version appears to be called Enforcement – Denmark is rocked by the treatment of Talib Ben Hassi, a second generation immigrant arrested ostensibly for speeding and beaten to within an inch of his life. Into this powder-keg steps officers Mike (Jacob Lohmann) and Jens (Simon Sears). Mike’s casual, bitter racism means Jens wants nothing to do with him; yet they’ve been paired up because there is fear that Jens may speak out against the police force regarding Ben Hassi, and Mike has been instructed to make sure Jens plays ball. They ride out to the poverty-ridden district of Svalegården, which is majority ethnic and considered a no-go zone for police officers especially now, and Mike’s feral anger towards anyone with brown skin begins to escalate tensions which were already high to begin with.

This leads to an altercation with Amos (Tarek Zayat), a teenage immigrant who had the bad luck to look at Mike the wrong way as they were driving past. Mike humiliates him in front of his peers, leading to Amos throwing a milkshake at the car. A chase occurs in which Amos is arrested. Jens believes all of this is overkill, but Mike seems to have a personal vendetta. On the way out of the district, the news breaks that Ben Hassi has succumbed to his wounds and passed away in hospital. The news spreads like wildfire and sets the district alight in violence, as the officers’ car is attacked and subsequently abandoned. Suddenly cut off from police backup and unable to drive out, Mike and Jens must rely on Amos to help them navigate the treacherous streets of Svalegården if they hope to survive…

Mike and Jens

From this setup unfolds a muscular, riveting action thriller which is also surprisingly layered. There will be a lot of comparisons with last year’s Les Miserables, by Ladj Ly, as well as Mathieu Kassovitz‘ classic La Haine, and both would be entirely fair, but Shorta strikes out for a slightly different tone. Although both men start out as opposites – and Mike can be accused of stereotypical characterisation – the process that they go through sees them both change and grow as a result. It’s fascinating to watch pure moments of realisation from Mike when he is rescued first by an immigrant woman who tends to his wounds and then by a young man who hides Mike in his car. The depth is such that the grayness of morality is explored in a way other action films wouldn’t bother with. There is an argument that all this has been done before – and it has, Shorta doesn’t add anything new to the genre – but when it’s done this well, it’s hard to fault it.

The excellent narrative is backed up by gritty, handheld cinematography from Jacob Møller which helps ground us in the moment as the violence builds and builds to an unnerving crescendo, and the music score lends an unsettling air. Elsewhere, Lohmann and Sears deliver heavy, physical performances as two police officers at odds both with each other and with their environment. A particular set-piece in a bathroom of a rundown block where tensions finally boil over and the two men engage in a rough and tumble fistfight is impressively staged and well presented. They ensure you understand the perspective of both men as their opinions get the better of them. Zavat also does well as an angry young man caught in the oppressive politics of the police force as he juggles the conflicting opinions of Mike and Jens.

Conclusion

Shorta might not deliver anything new if you’ve seen and enjoyed movies such as La Haine, Les Miserables, or even Training Day in the US, but what it does, it does well. Anchored by great performances and very confidently directed action sequences, Shorta is a thrilling actioner with enough depth to keep the viewer invested as the plot unfolds. It is timely with its plot of police brutality and ultimately its message is an important one to hear.

Shorta is one of a number of police thrillers including La Haine, Les Miserables, and Training Day. Which is your favourite? Let us know in the comments!

Shorta premiered at the Glasgow Film Festival on 28th February and is available to watch until 3rd March.