‘Late Shift’ Review: A Nurse’s Work is Never Done in a Tightly Wound Overnight Drama

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Hospital nurse Floria, dressed in her royal-blue scrubs, has a winding tattoo on her forearm that’s often visible due to the short sleeves. However, it’s challenging to examine closely since she’s always kept busy with her tasks. As we traverse the Late Shift along with her, we occasionally catch glimpses of this inkwork, sparking curiosity about its significance and the story behind it. It may be that even Floria, tired after working long hours, takes a moment to notice it and recollect herself. Petra Volpe’s fast-paced, compassionate drama primarily focuses on Floria’s work persona, though at times, we catch glimpses of her personal life peeking through the cracks, revealing a person who needs care just like those she looks after.

In the movie “Late Shift,” Leonie Benesch portrays Floria. Known for her piercing gaze and rigid posture, this German actor has recently made a strong impact in roles such as the embattled educator in “The Teachers’ Lounge” and the calm translator in “September 5.” Her casting in this film implies that she is becoming a preferred choice for characters who must balance internal chaos with a facade of professional competence. Volpe’s script mirrors the chaos of a hospital, filled with diverse life-or-death storylines. However, it’s Benesch’s performance that adds a layer of tension to the film, as viewers are left guessing when her character’s stiff demeanor will crack under pressure. This compelling and marketable Swiss-German production is expected to gain commercial success due to Benesch’s rising fame, following its premiere at the Berlinale.

In terms of structure and content, “Late Shift” doesn’t offer anything unexpected to those familiar with traditional hospital dramas. However, its polished and quick-paced presentation makes it impactful nonetheless. With its interwoven storylines spanning a single night, “Late Shift” could just as well serve as an extended premiere for a European take on “ER”, captivating and emotionally resonant enough to keep viewers tuned in for more. For Volpe, the Swiss-Italian director who gained recognition through 2017’s uplifting feminist comedy “The Divine Order”, this might be her most sleek demonstration yet of her talent for mainstream, character-driven storytelling. It also serves as a strong showcase for potential projects outside her usual sphere, should she choose to pursue them.

The initial scene of the movie presents an intriguing twist: rows upon rows of identical medical uniforms move methodically through an industrial washing process, hinting at additional layers of wearisome human effort sustaining the public healthcare system. In a sterile dressing room, Floria prepares for her shift on a major Zurich hospital’s surgical ward by donning one such uniform and engaging in casual conversation with a coworker. She also slips on a brand-new pair of sneakers that, as we later learn, will appear worn out after just 12 hours. The night shift is demanding even under normal circumstances, with short staffing being the norm. On this particular night, a crucial team member is absent, making Floria’s workload not only difficult but unmanageable.

Among my responsibilities, I have 26 patients who need my attention. There’s Mr. Leu (Urs Bihler), an elderly gentleman who’s worried about a potential cancer diagnosis but is being kept waiting because the doctor is overwhelmed. Mrs. Bilgin (Eva Fredholm) is terminally ill and her three anxious sons are taking up more of my time than they should. Mrs. Morina (Lale Yavas) is a young mother battling cancer, torn between continuing treatment or not. Mr. Song (Jeremia Chung) has a severe medication allergy that often gets overlooked in the chaos of rounds. Lastly, there’s Mr. Severin (Jürg Plüss), a demanding private patient who thinks his herbal tea orders should always take priority because he pays for my services. To top it all off, I have to supervise Amelie (Selma), a student nurse who tends to make mistakes under pressure – and time is running out.

Just as editor Hansjörg Weissbrich skillfully weaves together various storylines in “September 5” from last year, mirroring the fast-paced, pressured work environment depicted. Emotions are subtly delivered without becoming overly sentimental, although the script occasionally veers towards melodrama. The use of ANOHNI’s track “Hope There’s Someone” in a rather direct way could have been more nuanced. The film’s original German title (“Heldin,” or “heroine”) seems redundant as it merely confirms what is already evident on screen. In its realistic portrayal of hospital life, “Late Shift” effectively conveys the immense difficulty and importance of work like Floria’s, and that of countless others.

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2025-02-18 00:46