The Quiet Ones (2024)

The-Quiet-Ones
The Quiet Ones

There’s a Danish historical record for robbery which was held by Denmark and Europe in 2008, and in this Kasper of Denmark helps in the planning. Kasper was a boxer and at a point in life where the probability of him succeeding was hardly existent. His life was about to change as the organizers of the robbery approached him.

Heist movies are always wrapped around the narrative of a heist and while stealing something priceless, a touch more is added. As good as the sheer suspense of a massive robbery is, all good films have a deeper context which is what makes them better throughout. Certainly some of the greatest have a dark aspect. Heat for example depicts two extremely different men caught in the desire to achieve great things out of the employer. Inside Man discusses and portrays how New York and its trauma following the 9/11 attack weakened critical components of society. In many ways, Ambulance pays respect to Iraq’s servicemen and veterans who have and continue to struggle for a country they would fight. The Quiet Ones which will have its world debut at the 2024 Toronto International Film Festival, Would also be included believe to fall into the trend of being a heist. Frederik Louis Hviid’s Denmark Lost is more the thyroid adjusting piece of work, the country in recession lost its biggest monetary theft in the 2008.

The beginning of the film is gripping thanks to the of the deftly shot one-take. However, soon enough the event of the film develops where the feeling of the drama is present at every subsequent event in the film. And what’s a strong aspect of The Quiet Ones is how it portrays the connection between the feelings and the every decision that is made.

One of the criticisms that people often voice while watching a movie is the degree of practicality with which certain roles act in a particular scenario. Absolutely unreasonable, yes. A badly written character can certainly make some regretful decisions in some cases. Resting easy with the knowledge that I’ve just pulled off a competent professionally written film, I can be assured or certain of one thing regardless of how a story is shaped: it has to be such and so in order for the plot to progress. In such films, a character who has been pursued will try to reach a certain place because that is how the film is designed. And this has been the best part in The Quiet Ones, where it tried to incorporate this concept and idea throughout. A person is driven mad with an urgent need to feel and acting and talks non stop till the last moment. Are these people for real? Everybody is a human being, answer this question. The terrifying scene occurs in a movie, during the beginning of other movies, in the stereo the voice of a radio shows a great depression around the corner while a robbery is in progress.

It is evident that Hviid is flying towards quite refreshing areas after one of the viewers has already watched the logline or has some basic understanding of history, as such Schijnen’s past events are showing. It is an area which completely disregards all logic: despair. It is such an overwhelming emotion that even one of the greatest in a terribly unfavorable position might get ensnared, and there exist people who are rendered incapable of picturing what agony and distress must mean in such conditions. In the mid of the movie, there is a sensational turning point the plot seems to reach; suddenly the viewers are made to shift to a year after, where currently the protagonist is site-headed and that is at the beginning of the movie and only later on are introduced to Kasper and his family During dinner one can have an unshakable feeling that the family scene has not been particularly well suggested while being neither voiced. This is a huge turn-off for the viewers, for the feeling lacks the specific parts of a straightforward narrative which has been badly written around the main three women in the movie.

Some people choose to avoid pressing issues such as friction between married couples and are able to ignore conflict quite easily. This may not be civilian naivety. They would, however, miss the critical moment of how the movie goes to great lengths to skirt the speech barrier. Alternatively, this film also lends credence to the idea that we are governed to a great extent by our emotions and that if these emotions are contained for too long, careless action will be the least devastating. Additionally, the movie provides no particular implicit justification of violence behind scenes while showing signs of violence on film. This type of narrative, when the message tends to focus on both domestic abusers and passive men as Mr. Slimani (Reda Kateb), is not uncommon as both women in the film develop their characters through the prism of their husbands. Time spent as a patio chair fixates one of Maria’s principal characteristics. There’s however, more to that as this is the second of her character traits that doesn’t take a great deal of screen time. Initially, it appears less like a straightforward narration and more like a preface to the plot twist.

Authentic cat-and-mouse action! But in reality, she is absent in most of the movie until she reappears in the last segment and more so feels like a sequel hook than an emotional closer. It definitely comes off as interesting in the context of storytelling but really, if her character was fleshed out more or even if she was just around for the duration of the movie, it would be more riveting at the end. All this does not imply that the final segment of this particular movie is deficient.

The third act which is directed by Larrs communicates the message within. There’s a lot going on in this movie in the stealing category, and it really takes its time to untangle itself (at times, maybe, a bit clumsy). But at the point of crime, all attention is drawn in through the stylized disposition and Hviid’s angle for the film. Kasper is self-assured and for a better part of the time he draws near to his plan with a kind of over-thought level but to him keeping everything contained is a long shot. Yet, there is a change that happens to him as soon as the first alert of trouble burgeons out. And those rips in the chest plates, which have earlier been delightfully teetering along the balanced edges – begin to emerge. Ideas that were hitherto contained in him for emphasis, he goes berserk whipping them out like anything. Once decides to leave money on the floor, the only thing that is put on what is said to be the floor more or less is his money in Kasper’s case. There’s just a single occasion during this movie, where he gets anything right throughout it. Money scene. Pretty much all of that is about a major fairly embarrassing screw-up.

However, the choice that Kasper makes reflects the character he is and the argument point that Hviid is aiming at in the first place. Quite the opposite in fact – when one is in an irrational yet determined state, one cannot ever really be held accountable for anything preposterous, or so they say.

Kasper does look troubled, but it is praiseworthy how he makes an effort not to allow the failures in his past to become an obstacle to acting in the present. He is faced with a dilemma that could alter the course of his life and so it is only reasonable to expect that he must turn to the past for help and direction. But still, it shows that he was taking an awful lot of risk in a situation where he should not have been in the first place. All those fears and worries he possessed regarding everything that would potentially lead him to his demise one day, reached a point where he was trying his best regardless of the circumstances. He talks as if these actions are the last resort which is nonsense for him in this particular case. There was Kasper, also stuck in the middle of this maze, who was so bored and tired of pretending to be just like everyone else.

The final moments in this film feature an impressive chase sequence. The shaky camera is zoomed into the faces of the thieves squeezed into the car. Other than sound effects and a few flashes here and there, the audience, or rather the host, is utterly confused as to what’s happening. There is a flare that keeps the viewers glued to the screen during a monotonous Moment in The Quiet Ones. When the script doesn’t have enough weight, however, the rapid pacing and the character movements during those sequences somewhat help to cover it. At least it tries to go beyond the usual boundaries. Although not always, the peak of such films is much clearer, in comparison to a typical bank heist movie, which most do not seek to create in the first place.

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