‘Late Shift’ Review: Tense, Hospital-set Thriller Highlights a Hidden Crisis and a Powerful Performance from Leonie Benesch [B+] – Berlinale
Almost every healthcare system worldwide is in crisis, overwhelmed with record demand, underfunding and a lack of staff on shifts. Swiss writer-director Petra Volpe highlights this pressing issue through the lens of a young nurse at a Swiss hospital, where she deals with an endless barrage of irritated and peeved patients seeking attention in a hospital ward staffed by only two nurses.
The film opens with nurse Floria Lind (Leonie Benesch) arriving at the surgical ward of a hospital. She slips into her nursing scrubs, greets her colleagues and dives right into her duties. The late shift gets off to a rough start as Floria finds out that one of her nursing colleagues is absent, meaning that her shift will be extra busy. Floria is kind and approachable, she is the epitome of a model nurse, helping the lives of others who need her expertise. Although her responsibilities are great, she never questions her duties, despite the evident mental strain that weighs her down. The sad reality is she can’t be everywhere at once and that’s where Volpe harnesses the film’s central tension from.
While Late Shift doesn’t offer a quick fix to Switzerland’s healthcare crisis, it casts a vivid spotlight on the relentless environment that nurses are forced to work in. Floria acts as a symbol and conduit, showcasing the emotional and mental toll that nurses face. Her dedication is unwavering and obvious to see but extreme exhaustion and stress eventually breaks her. It’s a Swiss Boiling Point just set in a different high-pressure profession. Like every nurse, Floria will go home and repeat the same merciless cycle, it’s unforgiving at almost every turn. Volpe’s film is eye-opening and equally frustrating as you empathise with not just Floria but also for the patients who feel abandoned, despite the nurses’ best efforts. The film’s ever-lasting tension culminates as Floria reaches her breaking point, hurling a €40,000 watch of a horrid private patient out the window. The refined, yet unpleasant gentleman, whose denial of his cancer diagnosis paired with his frustration, is terrible to Floria. Taking out his internal anger and confusion on her after being neglected for so long. They represent a stark divide between healthcare professionals and those they serve. In a powerful scene shortly after, the two adversaries come together for a quiet moment as he reflects on his brash actions. Volpe accentuates how both sides, the understaffed nurses and forsaken patients, are mistreated by those running the healthcare system.
Benesch delivers a powerfully restrained performance as the leading Floria Lind. She is undoubtedly a supreme talent who deserves recognition for her work here, and also in September 5 recently. The composure on her face is seriously impressive, you feel as if she could burst and break down at any point. Benesch is given barely any respite and keeps up Floria’s helpful and kind image throughout. There are a few explosive moments that allow Benesch to unshackle her restraints for a few minutes before returning to her normal self. From angry men shouting at her to patients dangerously smoking cigarettes next to oxygen tanks, Benesch shows another side to her superb acting talent in these scenes. She is joined by a strong ensemble of differing actors who deliver convincing performances as the hospital’s differing patients. The film wouldn’t be nearly as emotionally effective without Leonie Benesch, but it also wouldn’t feel complete without the ensemble acting their assignments.
German cinematographer Judith Kaufmann reunites with Benesch after filming together on The Teachers’ Lounge. Kaufmann’s camera follows Floria for most of the film, staying close-up and personal throughout to fill the viewer with tension. Kauffman switches between steadicam and handheld footage depending on the emotional impetus of each scene. The handheld shots are very impactful as it enhances the destabilised and chaotic ongoings during the shot. It should be noted that almost all of the film is filmed and set inside the Swiss hospital, it definitely has a confining effect as Floria is trapped in its walls until her shift eventually ends. The first time Floria gets a breather, the camera does too, as it pans to show the gorgeous Swiss landscape that surrounds the hospital. It’s a moment of respite that allows the audience to take a breather. Emilie Levienaise-Farrouch’s score mirrors the cinematography as it’s mostly populated by suspenseful music that sounds like a musical version of a ticking clock, which adds to the film’s frantic atmosphere. Known for her work on British films like All of Us Strangers and Censor, it’s great to see the composer branching out to European cinema.
Late Shift is a taught and tense thriller that’s carried by a truly great Leonie Benesch. It shines a light on important issues while delivering an engaging film for all to watch. Following Floria’s every step as tensions rise is both enthralling and infuriating as being a nurse is a thankless and endless cycle of mental strains, despite doing it for great reasons. We get to know Floria’s sensibilities in a professional sense but aren’t shown much of her personal life beyond a few little glimpses. This is the only slight on the film because it’s otherwise a nearly perfect thriller.
Grade: B+
This review is from the 2025 Berlin Film Festival where Late Shift had its world premiere. There is no U.S. distribution at this time.
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