Late Shift review – pressure is on in badly understaffed hospital as compassion shines through | Film

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COn his film The Teachers’ Lounge won an Oscars of the best international feature film, perhaps Leonie Benesch should be better known. (In addition to playing a teacher in this film, she was also the interpreter in the dramatic of the Munich Olympic Games on September 5 and played the sister of Prince Philip Cecilie in the crown of Netflix.

Here, she embodies Floria, a nurse (and only one mother) working a late quarter of time in a brilliant Swiss hospital and obviously bad in sub-employment. Floria must hit the ground from the very beginning of each working day. (The original German title is organized, or heroine.) The writer-director Petra Volpe was inspired by the autobiographical novel Our profession is not the problem. These are the circumstances, by the German nurse who became the author Madeline Calvelage. It is turned using classic walking and speeches by Aaron Sorkin, with Floria exchanging a laconic technical dialogue with colleagues in the corridors. And there is almost a unique aesthetic in real time, although there are conventional modifications. The British public would be right to compare it to victims or to Holby City.

Floria is compassionate and conscientious, but it is clear that the workload is almost intolerable. During closing credits, the film invokes the results of the World Health Organization that there is a global lack of nurses. Each conversation or meeting with a patient is under pressure, and patients are either moved or with resentment about to complain. To calm an old woman with dementia, Floria sings the German lullaby that the moon has raised, and the woman joins him.

The crisis occurs with a pompous man who paid a private room and is furious because Floria brings him his tea. Floria is clinging, but the situation is resolved a little too easily. This is where the film is starting to look like a television soap whose scenarios must be wrapped in the hour (and the final editing with sad music going on all patients on shot). But Benesch brings a difficult, intelligent and credible presence.

The end of the end of the United Kingdom and Irish cinemas from August 1.

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