Sofia’s Last Ambulance opens with the camera advancing toward an open door. Men in work clothes stare through the fourth wall and step aside as the screen moves past them. It takes a second to realize that the steady camerawork is not there to be ignored, as is normally the case in a well-produced feature film; instead, the camera’s point of view is the premise of the whole movie. With lenses affixed to the titular ambulance, we roll ahead on four wheels — we see what the mechanical infrastructure sees. The film is all about infrastructure. In particular, it follows the bumpy circuits of a troika of EMS workers in Sofia, the capital of Bulgaria. It’s a formally dispassionate but loving portrait of three admirable people, tired to the bone, who over the course of two years go about their impossible task of tending to the sick and the injured with an equally broken emergency response system.