The man staring into the car is Police Officer Hawkins (played by Paul Findlay) who has been asked to a spot of wasteland by fellow officer Burman (Sonny Michael Chohan).

But on the discovery of the deceased, Hawkins is intrigued to find out why he has been asked by his colleague to this secluded location to witness this horror.

Yet, we find out that in the past Hawkins killed a young man and Burman is in a similar predicament now. He has the body owing to an accidental killing of an African Caribbean boy who was dating his daughter. And he hopes Hawkins’s history could help him now.

Both actors are great with Paul Findlay demonstrating an obvious menace whilst Sonny Michael Chohan delivers a more reserved performance – but not without his own disturbing outlook. The reasons why is revealed later in a plot that twists and turns.

The film is almost set entirely within the confines of a car but the cinematography is fantastic with well thought out shots and naturalistic lighting adding to the realism.

The film doesn’t shy away from serious themes either. The conversation leads to an uncomfortable chat around the subject of interracial dating and the background of different cultural norms.

As the abhorrent views expressed in the dialogue continue, Hawkins’s defence of his killing is that he is protecting British cultural values. This rings hollow with the contrast to the vile actions he feels justified in taking. And Hawkins continues with his racist outburst tarring the culture of his colleague with the actions taken by just a few others.

[mild spoilers]

But it is here where the director Ellis pulls the rug from underneath us and it is disclosed that Burman has in fact been sharing their conversation via a hidden mobile phone. Friends and family of the dead boy are revealed as they walk towards the car in a show of solidarity across community, cultural and racial lines.

Burman's’ “dead body” is revealed to still be alive as the Afro Caribbean boy he claimed to have murdered. Eliciting the confession from his colleague, he explains how fear can instil silence in good people who want to speak out.

Yet the film delves into a murky violent conclusion which raises questions of violence begetting violence in a seek for vengeful justice.

Systemic racism and police corruption are hot topic themes right now and Ellis does a great job of instilling his short film with such complex ideas with much nuance and thoughtfulness.

Corrupt therefore ends as a superb one-location drama with plenty to recommend. A tight script delivering deep and timely messages in well-written dialogue is performed superbly by the two leads whose rivalry leaps from the screen.

Michael Sales