Ostensibly, it is a term used to condone questionable decisions, but the term “Stockholm Syndrome” definitely carries highly negative connotations. In general parlance, it implies that the victims were either too weak or too stupid to resist the brainwashing or seduction by their captors. However, the circumstances of the historical incident that coined the term were considerably different. At least, that is how the somewhat fictionalized chronicle of the Norrmalmstorg Kreditbanken hostage crisis unfolds in Robert Budreau’s “Stockholm,” which screened during the 2018 Tribeca Film Festival.
The hostage-taker presents himself as an American singing cowboy, but his real identity will be the source of some controversy during the standoff. Regardless, his love for Bob Dylan is genuine enough. (The film opens with “New Morning,” a good one that isn’t overplayed.)
