According to Ernest Hemingway, a good story should be like an iceberg, leaving most of the argument hidden. Perhaps in Literature is more common to find that kind of narrative than in the movies, for reasons of resources, but the movie Den Skyldige (The Guilty) is a little closer to what Hemingway said.

It's a Danish film, directed by Gustav Möller, who has received important prizes and nominations, and people's already talking about an American remake with Jake Gyllenhaal. It tells the story of Asger Holm, a police officer who has been temporarily suspended, removing him from the streets and assigning him (as a punishment?) to a police telephone exchange where he serves the emergency service. 112 in Europe is something like 911 in the United States, although each EU country may have other local emergency numbers as well.
Precisely in what represents the last turn that must fulfill in that position, Asger receives a call from a woman who is very scared. The woman, Iben, begins to speak, ignoring the words of the agent, and through the voice tone of the woman along with her sentences, he realizes that she's been kidnapped. Then begins Asger's search. From his desk in the small emergency center, Asger tries to help the woman who's in danger by calling the police from different parts of the country, calling her home, calling friends he has in the corp, even calling Iben in some cases. As the film progresses, we discover things from the past, the present and the immediate future of Asger, why is he there? Why is it his last turn? and we witness other revelations of his character and his personal life, while we follow the development of Iben's kidnapping.

We are witnesses of a crime in its development, yes, very particular witnesses: auditory witnesses. We hear the same things that Asger listens through his headset, and like him, we see nothing. Nothing at all. We don't see Iben, her kidnapper, Asger's friends, police cars, nothing. Our protagonist is a frustrated teleoperator because his job is to sit and wait while others act and he can only assists through his ears; and that frustration is transferred to the public.
The essence of the plot reminds The Call with Halle Berry and Abigail Breslin, but in that American film we could see everything that happened with the kidnapped, we had that advantage over the character of Berry who, for a big part of the film, could only provide help through a headset and a microphone.

However, this Danish film doesn't happen that way.
Does this mean that we never leave the emergency station?
Exactly.
And all we see is this Asger talking and talking, looking for a way to do something to help?
Correct, again.
Is it a monotonous and boring film then?
Not at all!
And there lies the success and the impact of the tape: in managing to maintain the rhythm, the tension, the suspense, without leaving those four walls. The voices, the sounds, even the silences that Asger listens to on the other side of the line play a vital role in the development of the story, highlighting how difficult but effective can be an invisible acting. The main success of the film is the superb performance of Jakob Cedergren (Asger) who carries the greatest burden of work in the whole story and does it superbly.
For a great handling of the rhythm, to maintain the suspense throughout the almost hour and a half of duration of the film, the impeccable performance of Cedergen, and the bet to realize a very good film with a very low budget in an industry loaded with very expensive and loose productions, I give Den Skyldige (The Guilty) a rating of 7/10 points and I recommend it to all those who want to dare to see something different.