Ola is in the midst of a swimming session at the public pool, when he is interrupted by two police officers eager to ask him a few questions about his car. When they insist that he accompany them to the station, he refuses and jumps back into the water. So begins writer/director Jonatan Etzler’s Badaren (Swimmer), a short that strikes the perfect balance between humor and drama. What starts as an absurd and unexpected face-off ultimately unfolds into a confrontation layered with compelling emotional depth. If there’s one thing that initially stands out about this film, it’s the originality of its premise. From the opening scene Swimmer is instantly intriguing with an exposition that raises a lot of questions. With a screenplay based on a real news story – in reality the man in the pool gave up after 45 minutes – Etzler saw potential in the scenario. “I thought the situation was so interesting”, the filmmaker admitted (in conversation with Élise Loiseau), adding that he wanted to understand the man’s reasoning behind jumping back in the pool. As the narrative unfolds, it’s this curiosity that drives the film, exploring the reasoning behind Ola’s (the main character) actions. Etzler also injects humor into his story through the waiting cops and the bemused bystanders, who just wanted to enjoy their time at the pool.Pontus Liedberg is excellent as a man evading arrest at a public pool.At first sight, the film plays as a comedy, thanks to its visual aesthetic and lead actor Pontus Liedberg impeccable delivery. His performance really enhances how delusional his character is, while making it impossible for the audience not to empathize with him, despite his actions. In most films, when the police are involved, especially when it’s for an arrest, there is a fast-paced tension where the audience is made to feel the stakes. Here, the situation is comically drawn out, as we watch Ola trying to buy himself time in such a childish way. It’s quite absurd to see such an unsuccessful arrest, as a half-naked Ola simply manages to evade capture by just staying in the pool. However, as we spend more time with him in the water the emotional depth of the story reveals itself, making Swimmer surprisingly relatable.Although Ola’s behavior is undeniably immature, despite his best attempts to avoid reality, by staying in the pool he is forced to confront the consequences of his actions. It almost feels like while we are watching him, we are witnessing the five stages of grief, beginning with denial, we’re left wondering if he’ll ever reach acceptance. As Ola, Liedberg (in what appears to be his first acting role) is quite incredible, his performance navigating his character’s emotional journey with a very touching authenticity.The police add humor to the story as they wait for Ola to leave the pool.Visually, DP Nea Asphäll (who also shot both of Etzler’s features) makes striking use of the location, playing with the pleasing symmetry of the pool and placing Ola carefully in the frames to echo just how alone he is. Editor Robert Krantz shapes the film with perfect pacing, making sure to slow down the rhythm and place us in the shoes of the characters, bringing to the screen how truly underwhelming this arrest is. The edit also allows the audience time to process the events, alongside Ola, without ever being too slow – in terms of entertainment. The result enhances both the comedic and dramatic layers of the film effectively.Swimmer made its way around the festival circuit during the 2020 season, with notable stops at the Palm Springs ShortFest, AFI Fest, Uppsala and it won the Best Comedy in Clermont-Ferrand. Etzler has since directed his first feature film for Netflix, One More Time, and is premiering his second, Bad Apples, at the Toronto International Film Festival.