Josef Fares and his cinematographer Aril Wretblad make the interesting choice of showing what might be a crime thriller through hand-held closeups of the protagonists. There's shooting, but you don't really see it, people die, but you only learn of it through implication. There's no procedural hunting down of the uncivil louts who have started it all. Instead, there's a session with a psychiatrist at the moment the hero Leo's grief turns to hatred and he begins intending revenge. Leonard Terfelt pretty well sustains the attention to a face that could elsewhere do comedy and even here has to let people think "things are fine." The thought of revenge triggers a vaguely middle-eastern turn to the music, which isn't necessary. One could instead reference legendary Scandinavian revenge stories. But here's a story told without big guys swinging axes.
