There’s no easing in—just a lurch straight into chaos.Late Shift doesn’t let up, tracking one overstretched nurse through a night that feels like it might never end. It moves at breakneck speed, stacking emergencies, frustrations, and quiet acts of resilience with such urgency it could be mistaken for real time.
The camera sticks close, sometimes uncomfortably so, forcing us to bear witness as pressure mounts. It’s tense—relentlessly so—but threaded with moments of dark humour and absurdity, the kind that comes only from experience. The film knows the rhythms of exhaustion: the awkward jokes, the breath snatched behind a curtain, the numbness that sets in when choices run out.
Then, abruptly, it stops. The final moments are devastating, stripped of words, as Anthony and the Johnson’s Hope There’s Someone crashes in and what’s been buried all night finally spills out. I was in bits by the end. Still am, to be honest. It’s a film that holds you hostage—then leaves you reeling in the quiet.