Krister, a husband and a father, wakes up bloodied and distressed in what appear to be unfamiliar surroundings. Deeply affected by his experience he tries to regain some normality by setting about his daily routine, but his initial distractedness and sarcasm soon give way to more menacing, erratic and brutal behaviour. Unable to find any peace in the banalities of the quotidian, Krister is forced to face up to the personal horror of what has gone before. This assured second feature from Jesper Ganslandt is at once sensitive, heartfelt and yet gruesome, with quietly menacing scenes confidently punctuated with moments of almost operatic drama. Olle Sarri's performance as Krister is pitch perfect, with his sinister intensity never overshadowing the tragic and at times pathetic core at the heart of his character. Bob Dylan's 'Too Much of Nothing', which plays out over the closing credits, gives a disquieting final hint as to the universality of Krister's ennui. This fresh, disturbing and expertly paced film marks director Ganslandt out as one of Sweden's brightest emerging young talents. 　　Sarah Lutton 　　译文(3): Krister是一位丈夫和父亲，在一个看似陌生的环境中醒来时浑身是血，痛苦不【资源囤-ZiYuanTun.Com】。深受自己经历的影响，他试图通过开始日常生活来恢复一些正常，但他最初的分心和讽刺很快就被更具威胁性、不稳定和残忍的行为所取代。由于无法在日常生活中找到任何平静，Krister被迫面对以前发生的个人恐怖。Jesper Ganslant的这部充满把握的第二部电影既敏感、发自内心，又令人毛骨悚然，安静的威胁场景自信地穿插着近乎歌剧般的戏剧性时刻。奥利·萨里（Olle Sarri）饰演的克里斯特（Krister）非常完美，他阴险的强度从未掩盖他角色核心的悲剧，有时甚至是可悲。鲍勃·迪伦（Bob Dylan）的《一无所有太多》（Too Much of Nothing）在片尾字幕中播放，最后令人不安地暗示了克里斯特无聊的普遍性。这部新鲜、令人不安、节奏娴熟的电影标志着导演甘斯兰成为瑞典最聪明的新兴年轻天才之一。