Tag Archives: Denmark

The Guilty (2018)

08 Saturday Dec 2018

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Original title: Den skyldige

D: Gustav Möller / 85m

Cast: Jakob Cedergren, Jessica Dinnage, Omar Shargawi, Johan Olsen, Jacob Lohmann, Katinka Evers-Jahnsen, Jeanette Lindbæk

Asger Holm (Cedergren) is a police officer working as a call handler for the Danish emergency response services. He’s doing this while he waits for the outcome of a court appearance that will determine if he remains a police officer. It’s his last shift before his court date, and with around half an hour to go he’s having to deal with the usual amount of time wasters and people who want an emergency response there and then. But one call brings Asger out of his self-imposed funk: a young woman called Iben (Dinnage) tells him she has been kidnapped and is in a vehicle, but she doesn’t know where she’s being taken. Asger knows roughly the area she’s in, and once he gets Iben to reveal the colour and kind of vehicle she’s in, he calls the appropriate police force to look for   her. But as Asger’s shift ends and he decides to stay on, he becomes more and more involved in finding Iben and reuniting her with her two children, who are still at home. But his efforts have unexpected consequences…

With all the action taking place wihin the confines of the Emergency East call centre, and for much of the movie within the further confines of an office where only Asger is situated, The Guilty relies heavily on both its plot, and Cedergren’s performance. Luckily, the plot is a gripping, edge-of-your-seat race against time scenario that sees Asger make a number of mistakes – some avoidable, some not – that both highlight and complicate the urgency of the situation, and which rely on the drip feed of information that some viewers will be able to piece together before Asger does. It’s a scenario that requires Asger to be a very good listener, but with his own issues weighing heavily on him, this proves difficult for him to achieve, and as he gets in deeper and deeper – even to the point of involving one of his police colleagues, Rashid (Shargawi) – his feelings of guilt over the incident that has brought him to the call centre begin to overwhelm him, and his efforts to do the right thing become more and more desperate. As Iben’s situation worsens, so too does Asger’s, and as he strives to save her, it becomes obvious that he’s trying to redeem himself at the same time.

This duality of purpose becomes more and more explicit as the movie progresses, and thanks to a sterling performance from Cedergren, Asger’s taciturn, dismissive demeanour gives way to a maelstrom of unexpected emotions that ultimately prove to be both the source of his undoing and his redemption. Asger isn’t the most sympathetic of characters, and Cedergren makes no attempt to soften him or make him more agreeable, but the narrative is still looking for that positive outcome, and if only Asger can swing it, then that’s okay. Möller and editor Carla Luff instill the movie with a sinewy, muscular rhythm that deflects from just how many times the camera placidly, but effectively observes Asger in close up, and the restrained camera work by DoP Jasper J. Spanning is suitably claustrophobic, making good use of the limited space Asger occupies and further highlighting the urgency of the situation. With good supporting performances from his voice cast, Möller teases out the truth in stages, and confounds audience expectations on a couple of occasions while playing to the gallery at others. It’s a compelling thriller, commendably staged and cleverly executed, and one that balances the demands of its main plot with that of Asger’s own situation with style and a surfeit of brooding self-confidence.

Rating: 8/10 – Denmark’s entry for Best Foreign Language Film at next year’s Academy Awards, The Guilty is a riveting, tightly constructed thriller that doesn’t short change the viewer, or betray its own internal logic in the final third as so many thrillers do; quietly devastating in places, its relatively short running time means not a moment is wasted, and there’s depth lurking beneath the simplicity of the main set up.

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The Green Butchers (2003)

19 Monday Mar 2018

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Original title: De grønne slagtere

D: Anders Thomas Jensen / 100m

Cast: Nikolaj Lie Kaas, Mads Mikkelsen, Line Kruse, Ole Thestrup, Bodil Jørgensen, Aksel Erhardtsen, Lily Weiding, Nicolas Bro, Camilla Bendix, Elsebeth Steentoft

Svend (Mikkelsen) and Bjarne (Kaas) are friends who work for their local butcher, Holger (Thestrup). Holger is a success thanks to the quality of his sausages, but he’s arrogant and treats the two friends as if they were idiots. But Svend has always wanted to open his own butcher’s shop in tandem with Bjarne, and when the opportunity presents itself, that’s exactly what he does. There’s a lot of work to do in getting the shop ready, including seeing to the electrics in the meat freezer. When the electrician carrying out the work is locked in the freezer overnight, Svend finds his body. But before he can do anything about it, Holger calls in with an order for a dinner party he’s having that evening. Svend obliges, but has to confess to Bjarne that he included fillets from the electrician’s leg in the order. The next day, the shop is besieged by customers, and though Svend promises the electrician is a one-off, the temptation to come up with other “donors” – and continue their success – proves too much for him to follow through on…

A low-key black comedy that adopts a largely matter-of-fact approach to its mildly anarchic narrative, The Green Butchers is an enjoyable romp that retains a subtlety of purpose at the same time as it throws a number of farcical elements into the mix as its story unfolds. Aside from the small matter of Svend & Co providing the kind of customer service Sweeney Todd would be proud of, there’s also the small matter of Bjarne’s twin brother, Eigil (Kaas), in a coma when we first meet him, and then running around and complicating matters. But just when Eigil’s vegetarianism and love of animals seems bound to reveal the truth about Svend & Co, the script pulls a fast one and his presence ends up jeopardising Bjarne’s budding romance with Astrid (Kruse), a local girl whose uncle just so happens to have eaten human flesh before (yes, really). While Bjarne tries to rebuild his life and move past a tragedy caused by his brother, Svend continues on a dark murderous spiral into insanity that shows no sign of halting. Thanks to their tortured pasts – Svend has never known love, even from his parents – both men become inured to what they’re doing.

That the movie never loses sight of their humanity and doesn’t make them look and feel like caricatures, is a testament to Jensen’s skill as a writer and director. Though the narrative does its best to wrong foot the viewer, much of it is foreseeable if not entirely predictable, and what few twists and turns there are, are handled with care and don’t overwhelm the storyline. As for Bjarne and Svend, they’re a likeable odd couple, with Bjarne’s laidback pothead demeanour a perfect foil for Svend’s arrogant, over-compensating nature. Svend is often unnecessarily spiteful, and Mikkelsen (with his severe hairstyle) makes him a wretch who’s almost incapable of good intentions, while Kaas gives full expression to the conflicting emotions Bjarne feels toward his brother. Both actors are on good form, and it’s a pleasure to watch them at work, while the dark humour and inherent absurdities of the plot are teased out with patience and skill by Jensen. It’s an amiable movie, content to avoid dwelling on the messier aspects of Svend & Co’s acquisition of its “chicken” products, and therefore lacking “bite”, but for a movie that concerns itself with murder and cannabalism, it’s also refreshing for its restraint and self-discipline.

Rating: 7/10 – there’s no shortage of laughs in The Green Butchers, but then its moral compass is more than a little off-kilter, and its two main characters delightfully adaptable to their predicament; perhaps a little too tame to make much of a dramatic impact, it’s nevertheless an enjoyable slice of Danish hokum, with winning performances and some knowing things to say about the pursuit of fame and success.

Dan Dream (2017)

07 Wednesday Feb 2018

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D: Jesper Rofelt / 98m

Cast: Casper Christensen, Frank Hvam, Marcus Millang, Niclas Vessel Kølpin, Louisa Yaa Aisin, Stine Schrøder Jensen, Lars Hjortshøj, Jelina Moumou Meyer, Peter Gantzler, Mia Lyhne, Jacob Lohmann

Outside of Denmark it’s unlikely that anyone has heard of Whisper Electronic Car A/S, but back in the early Eighties, this company attempted to design and manufacture a Danish electric car intended for mass consumption. They even got so far as to introduce the first version, called the Hope Whisper, at a premiere event in front of then Danish Prime Minister, Poul Schlüter. The fact that the Hope Whisper isn’t a household name the world over (or even in Denmark) should give you an idea of just how successful it was, but in Dan Dream, whether or not it succeeds or fails is beside the point. Tired of being patronised or ignored by his bosses, sales executive Thorkil Bonnesen (Christensen) quits his job and following a chance encounter with engineer Jens Knagstrup (Hvam) and his electric bicycle, decides to give Denmark their first electric car. Using Jens’ battery design, Thorkil enlists the aid of a one-armed mechanic, Vonsil (Millang), and ex-colleague Henrik (Kølpin), and together they move to the quiet country town of Bjerringsund to set up shop and build their (Dan) dream car.

There’s some local opposition at first, even though the town’s mayor, Kai Ove (Hjortshøj), is behind them a hundred per cent. But Thorkil charms them enough to win them over to his side, and the car’s production proceeds smoothly until the fateful day of the premiere. Along the way, director Rofelt and co-writers (and co-stars) Christensen and Hvam provide us with a hugely entertaining movie that wears its heart on its sleeve from the beginning, and which proves to be one of the unsung “heroes” of 2017. There’s drama to be had from the setbacks that have to be overcome, but this is less about the creation and launch of a revolutionary mode of transport, but a look at how it affects the lives of those involved (well, some of them; Vonsil and Henrik remain much the same throughout). It’s interesting to note that of the three male characters most affected – Thorkil, Jens and Kai – each has issues relating to their wives. One is a bully in need of a comeuppance, one learns his wife has had an affair since arriving in Bjerringsund, while the last treats his wife badly in a moment of weakness. Some of this allows for trenchant comments about the racist and sexist atttudes of the time, and the script isn’t afraid to have Thorkil et al look stupid or unwittingly insensitive.

But first and foremost, Dan Dream is a comedy whose easy-going material revolves around the notion that “everything is impossible until it’s been done”, a bright, positive statement that reflects well on the team’s efforts, even in the face of subsequent disaster. The humour is light and unforced, and reliant on its cast’s abilities to play bemused, baffled, and flustered in equal measure while also retaining a naīvete that allows for sympathy and the viewer’s support in their efforts. Making his feature debut, Rofelt directs with a flair for capturing the minor details in a scene, details that add credibility to the often whimsical nature of the script, and he deftly handles the underlying seriousness of much of the material. He’s supported by a cast who all play their roles with a terrific awareness of when too much is enough, and who are clearly having a great deal of fun in the process. This transfers itself to the viewer, and the movie remains amusing and involving throughout. It’s amiable and far from overly dramatic, but it is a gently unfolding piece that is confidently handled, wonderfully consistent, and a very pleasant way to spend ninety-eight minutes.

Rating: 8/10 – smart, amusing, and providing a wry commentary on the times (in Denmark at least), Dan Dream is a movie that offers a number of simple pleasures throughout its run time, all of which make it immensely enjoyable; one of those movies that absolutely should be given a chance when you come across it, it proves that some movies don’t have to be profound to make an impact, or have a message to justify their existence.

NOTE: There’s no trailer with English subtitles available at present.

Darkland (2017)

08 Friday Dec 2017

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Original title: Underverden

D: Fenar Ahmad / 113m

Cast: Dar Salim, Stine Fischer Christensen, Ali Sivandi, Dulfi Al-Jabouri, Jakob Ulrik Lohmann, Roland Møller, B. Branco, Anis Alobaidi

Two brothers, two different paths in Life. One, Zaid (Salim), is a respected heart surgeon whose wife, Stine (Christensen), is expecting their first child. The other, Yasin (Alobaidi), is involved with a criminal gang. They appear to lead separate lives, but Fate brings Yasin to Zaid’s door one evening after a bank heist he’s been involved in has gone badly wrong. Yasin seeks his older brother’s help but is sent on his way unceremoniously. The next day, Yasin’s badly beaten body arrives at the hospital where Zaid works, and despite the staff’s best efforts, he dies. Zaid grieves for his brother, and with the aid of one of Yasin’s friends, Alex (Al-Jabouri), begins to understand just what kind of criminal gang Yasin was a part of, and why he was so brutally attacked and left for dead. An early encounter with one of the gang’s enforcers, Branco (Branco), leaves Zaid bruised and beaten himself, but at least he’s let off with a warning to leave things well alone. But Zaid isn’t so easily persuaded, and with the aid of close friend, Torben (Lohmann), he trains to become a better fighter, and to show the gang’s boss, Semion (Sivandi), that killing Yasin was a big mistake…

Away from Hollywood, vigilante thrillers tend to be gloomy, atmospheric movies that focus more on the characters than the mechanics of getting them from one action set-piece to the next. Scenes play out in longer fashion, the interplay between the characters is given room to imbed itself within the narrative, and the action set-pieces, when they come, have a more satisfying feel to them. In short, the viewer can make more of an investment in what’s happening, and in the complexities of how and why. (And they can do all this and still cheer when the anti-hero starts kicking ass.) In Fenar Ahmad’s second feature, the very gloomy, very atmospheric Darkland, the main protagonist embarks on a journey that sees him slowly but surely strip away his humanity, the very attribute that has made him so successful, in his pursuit of vengeance for his brother. It all comes at a very high cost indeed, with his marriage and his career put under increasing pressure, and his priorities skewed in one very dark direction indeed.

One of the movie’s strong points is that even though Zaid is the central protagonist and his motives are entirely understandable, he’s not the most sympathetic of characters. Thanks to Ahmad and co-screenwriter Adam August’s considered approach, Zaid’s decision to seek vengeance for the death of Yasin always seems a little self-serving, as if it’s more important for him to be the avenger out of some misguided sense of filial obligation; what would it say about him if he did nothing? Between them, the script and Salim’s pressure cooker performance point up this emotional disparity, and the usual assurances that the central character is looking to avenge someone’s death purely for the deceased’s sake are undermined from the start. This alters the standard vigilante movie dynamic just enough to make the movie more interesting, and more likely to subvert audience expectations.

Ahmad is also clever enough to make Zaid’s immersion into the world of the vigilante one that doesn’t occur overnight. Following his beating at the hands of Branco and his men, Zaid wisely seeks help and the movie spends time with him as he learns to protect himself through a combination of boxing moves, body armour, and mysterious injections that only make sense when the final showdown between Zaid and Semion arrives. As he becomes more confident and more focused, his commitment leads to a deadening of his emotions. His relationship with Stine suffers as he closes himself off from everyone around him, and even when she becomes embroiled in the cat and mouse game that develops between Zaid and Semion he remains remote from her and their unborn child. Where you would expect him to become angrier and perhaps more reckless in his efforts, here Zaid tamps down those feelings and focuses on the job at hand. By the time he faces off with Semion he’s an automaton.

At one point a strong contender as Denmark’s official selection for the Best Foreign Language Film at next year’s Oscars (it lost out to You Disappear), Darkland has more to offer than a central character whose motives may not be as selfless as they should be. The contrast between Zaid’s comfortable, ordered lifestyle and his brother’s is perfectly illustrated by Yasin’s visit for help. With a dinner party in full swing, and already having ignored his brother’s calls, Zaid is in no mood to introduce Yasin to his guests. He keeps him outside in the hallway and gets him to leave as soon as possible. It’s when Zaid and Stine are enjoying an evening meal at a restaurant, and Semion and his entourage arrive as well, that the contrasts begin to blur, and in an icy encounter between the two men, Semion chastises Zaid for not being as charitable to the local community as he is. From that moment on, Zaid’s world is Semion’s world, and he has no intention of removing himself from it.

All this is aided by, and benefits from, sterling production design courtesy of Sabine Hviid, and excellent cinematography from Kasper Tuxen. Much of the movie takes place at night, and the semi-deserted streets of Copenhagen are used to very good effect, with the lighting providing an occasionally hallucinatory feel, as if Zaid is interacting with a different “reality”, one that has danger lurking around every corner. Tuxen is particularly good at framing the action so that each incident contains the necessary impact, and in the quieter scenes he uses lighting to create and support the various emotional moods on display. Ahmad directs with a firm understanding of how to avoid the clichés that can so easily make this kind of story seem derivative and underwhelming, and he draws out good performances from all concerned, with special mention going to Salim, and Al-Jabouri. There are times when the script feels like it’s going to cut corners in telling its tale, but thankfully it draws back from doing so, leaving the movie feeling and sounding more considered and thought out than expected.

Rating: 8/10 – with its secondary themes of personal honour and emotional neglect firmly established through its characters and their behaviours, Darkland has a lot more going on than its vigilante-out-for-revenge concept might imply; visually intense in places, and packing a visceral punch when needed, it’s a movie that also has a surprisingly melancholy vibe to it at times, something which adds further to the effectiveness of the piece as a whole.

Land of Mine (2015)

23 Thursday Mar 2017

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Original title: Under sandet

D: Martin Zandvliet / 97m

Cast: Roland Møller, Louis Hofmann, Joel Basman, Mikkel Boe Følsgaard, Mads Riisom, Oskar Bökelmann, Emil Belton, Oskar Belton, Leon Seidel

In the wake of World War II, German POWs were sent to various places along the Danish coast with a view to their being used to clear the beaches of landmines. The fact that they were expendable made them the perfect choice for the job, and the Danes had no compunction about putting them in harm’s way (though they did train them beforehand). It was a large-scale operation, using approximately two thousand Germans – most of them barely out of their teens – to clear approximately two million landmines. And the Danes were in a hurry.

This is the background to Martin Zandvliet’s sparse yet rigorous post-War drama, Land of Mine. The German soldiers co-opted for the task are young, inexperienced for the most part, and looking forward to going back home… until the Danes come calling in the form of Lt. Ebbe Jensen (Følsgaard). He teaches them the basics of how to disarm a landmine, and then sends fourteen of them off to the coast and into the care of Sgt Carl Rasmussen (Møller). Rasmussen’s antipathy toward them is soon evidenced by his lack of concern when food supplies aren’t delivered, and the Germans begin to scavenge for food, all of which leads to sickness amongst the men and the first fatality within the group.

Despite their initial fears, the Germans unite as a team, and their conscientious approach to their work begins to pay off. A natural leader emerges, Sebastian Schumann (Hofmann), and he and Rasmussen begin to forge a relationship based on mutual respect, a situation that catches the Danish sergeant by surprise. He softens his attitude toward the men, and even brings them food from the Danish army camp further inland. Eventually, he even removes the barricade on the men’s barracks that keeps them locked in at night. Another fatality occurs, an unforeseen event that serves to make one of the men, Helmut Morbach (Basman), question the likelihood of their ever returning home. It’s an unpopular idea, but when a further death has a profound effect on Rasmussen, his reaction only serves to reinforce Morbach’s paranoia, and the men are faced with the very real possibility that all their lives will be forfeited there on the beaches.

Despite its simple storyline and set up, Land of Mine is resolutely not a simplistic tale. There’s far too much going on than it appears at first glance, and Zandvliet (working from his own script) has forged a powerful, compelling portrait of commitment under pressure, both in the relationships between the men (including Rasmussen), and in the disabling of the landmines. Zandvliet shows that, even in the worst of circumstances, bonds can be formed between even the unlikeliest of adversaries. When we first meet Rasmussen he’s in a jeep watching a large group of German POWs trudging past him on the road. He assaults one of them, displaying a deep-rooted anger towards the German soldiers that doesn’t augur well for his future charges.

For their part, the German POWs who are selected to clear the beaches are too young to have seen any meaningful action during the war, and aren’t to be blamed for the decisions made by their elders. They all look ahead to the time when they’ll be back home in Germany and making their way, fruitfully, in the world. Even though the odds are against them (and nearly half of the two thousand Germans made to remove the mines were either killed or maimed for life), these young men still have the capacity to look forward to a better, brighter future. It’s this optimism in the face of grim experience that helps give the movie a positive spin, one that’s sorely needed to balance the inevitability of their dying. And once Rasmussen discovers he can respect them as people, and not just German soldiers, then that optimism flares brightly, and in contrast to the flare of the explosions that threaten them every day.

As well as hope and optimism, the movie dwells on camaraderie and the notion of friendship under fire, but to a lesser extent. It still manages to explore the nature of reliance on others in extreme circumstances (both emotionally and practically), but it does so in an understated manner that complements the restraint Zandvliet shows in handling the narrative. This isn’t a showy, flashy movie intent on making eye candy out of explosive situations. Rather, it’s a stringent, occasionally profound meditation on the human ability to find something worth saving or fighting for in the worst of situations. All of these men confront death each day, and all of these men find strength in having each other around them.

Land of Mine‘s introspective qualities are highlighted by the performances. Møller is the nominal “angry man”, ruled by his prejudices until he realises the Germans are just young men thrown into the war like cannon fodder – just like they are when they’re on the beaches. Møller adopts a stern, patrician gaze for most of his scenes, but when Rasmussen lets down his guard (in his scenes with Sebastian), the one-time career criminal turned actor shows that he has a natural talent for portraying a character’s inner workings and thoughts. Relaxing into the role with every scene, Møller is the one cast member who draws the eye throughout, and his transformation from “angry man” to unacknowledged friend and back again to “angry man” is convincing because he’s sincere and there’s an equally sincere sense of purpose in his approach to the role.

The rest of the cast are more than capable, and provide impressive support when needed, particularly Hofmann as the thoughtful, clever Sebastian, and Emil Belton as one of two brothers, Ernst, whose sadness at the loss of his sibling leads to both triumph and tragedy in the same scene. Zandvliet never compromises with the characters, and manages to make them all feel like fully rounded human beings, ones that you could imagine being stuck in such horrendous circumstances. They populate a beautiful stretch of the Danish coastline, locations that are historically authentic, and Camilla Hjelm’s bright, stately cinematography adds a lustre to the movie that makes it seem hyper-real in places, with the blinding white of the beaches reflecting back off the blue skies above in striking fashion. Between them, she and Zandvliet have crafted a visual aesthetic that belies the grim nature of the material, and which instinctively elevates the movie beyond that of yet another post-War drama where enemies learn to respect each other.

Rating: 9/10 – its nomination in the Best Foreign Language Film category at this year’s Oscars may have surprised some people, but Land of Mine was a worthy nominee, and it’s a movie that is well worth seeking out; bold, absorbing, and in places, delicately nuanced, this is a triumph of low-key yet resonant movie making, and full of neat directorial touches that confirm Zandvliet is a director who knows exactly what he’s doing.

The Danish Girl (2015)

17 Sunday Jan 2016

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The Danish Girl

D: Tom Hooper / 119m

Cast: Eddie Redmayne, Alicia Vikander, Matthias Schoenaerts, Ben Whishaw, Sebastian Koch, Amber Heard, Adrian Schiller, Pip Torrens

Copenhagen, 1926. Einar Wegener (Redmayne) is a celebrated painter and husband to fellow painter Gerda (Vikander). They live in a big house by a canal and appear to be blissfully happy together, despite Gerda’s work being passed over by the local art dealer (Schiller), and despite not having had a child together in the six years they’ve been married. They are well regarded amongst their friends and contemporaries, including Ulla (Heard), a dancer who Gerda has agreed to paint a portrait of. One day Ulla is late for her sitting and Gerda asks Einar to take her place. He puts on stockings and shoes and covers himself with a dress; the effect of having the dress next to him reawakens old feelings from his childhood. When Ulla does arrive she’s delighted to see her “substitute” and tells Einar he should be known as Lili.

Later, Gerda discovers Einar is wearing one of her nightgowns under his clothes. She accepts this and the next morning while he sleeps she sketches him, giving him an androgynous look. When Einar refuses to attend an artist’s ball, Gerda prompts him to attend in disguise, as his “cousin” Lili. She intends it to be a game while Einar is secretly pleased to be able to dress as a woman. At the ball, Lili attracts the attention of Henrik (Whishaw) who engineers a situation where he kisses her. This initially confuses Einar but the urge to continue as Lili is stronger and he continues to see Henrik secretly.

TDG - scene1

When their relationship ends, Einar makes the decision to be Lili most of the time. Out of this, Gerda finds her muse, and her paintings of Lili begin to gain attention. When her work is noticed by art dealers in Paris, she takes the opportunity to go there, and succeeds in persuading Einar to come with her. It’s good timing, as Einar has been seeking treatment for what he believes is a condition that can be resolved, but most doctors believe he is either insane or perverted and want to see him committed. In Paris, Gerda contacts Einar’s childhood friend and art dealer Hans Axgil (Schoenaerts), but when she brings Hans back to their apartment, they find Lili there instead of Einar.

At this time Einar and Gerda hear about a German doctor who is interested in people like Einar who feel like they are a woman trapped inside a man’s body. The doctor, called Warnekros (Koch), is trying to pioneer the kind of surgery that will allow a man to become a woman, complete with female genitals. Einar agrees to undergo the procedures necessary as he feels this is his best chance of becoming the person he really is – Lili. Meanwhile, Gerda’s conflicting emotions about her husband lead her to skirt perilously close to having an affair with Hans.

At one point in The Danish Girl, Einar Wegener visits a Paris brothel and watches through a window as a young woman sensuously caresses herself. He mimics her movements, and in doing so, has an orgasm. It’s a telling moment, as Einar’s need to be a woman finds expression in a moment of heightened sexuality. It’s also the point at which the movie makes it clear to the audience that Einar’s condition isn’t the result of some mental incapacity, or a chemical imbalance. This is where Einar truly becomes Lili, even if he still has to dress as a man on certain occasions.

TDG - scene3

Lili’s story has been told in her own words in the book, Man into Woman: The First Sex Change, published in 1933, and drawn largely from the diary entries she wrote while undergoing her sex change procedure. The Danish Girl takes the book as a starting point and tells Lili’s story with a stately precision that both heightens the drama and allows room for Hooper to delve deeply into the relationship between Einar and Gerda and Lili herself. For this to work, the movie needed two actors capable of navigating the intricacies of gender confusion and emotional displacement, as Einar embarks on his all-consuming journey to become Lili, and Gerda tries to come to terms with losing the only man she’s ever loved. Fortunately, the movie has Redmayne and Vikander in it, and these two amazingly versatile actors keep the movie from being as dreary and confined as the movie’s backdrop (the movie is a triumph of muted colours and dull settings).

Redmayne is on superb form here, portraying Einar’s transformation from tormented man to blissfully happy woman with so much tenderness and understanding of the mixed emotions both Einar and Lili must have felt that it’s impossible to detect a false note anywhere in his performance. It’s hard to think of another actor who could have portrayed the two roles so effectively. And he’s matched by Vikander, an actress who goes from strength to strength in every movie she makes (even if it’s The Man from U.N.C.L.E.). She takes what could have been a secondary character and imbues her with a clear-sighted intelligence and emotional resilience that complements Redmayne’s performance and ensures that Gerda’s part in all this isn’t forgotten or given less importance. Their scenes together have such a charge that some of them leave the viewer on the edge of their seat, poised to see how their relationship will develop and how much their love for each other will see them through.

TDG - scene2

As mentioned above, Hooper directs in a stately manner he seems to have picked up from watching too many heritage movies, and while this doesn’t disadvantage the movie completely, it does lead to moments where the passage of time – on screen at least – seems slower than it actually is (the events here take place over four years, but you wouldn’t know it otherwise). Some viewers may find their patience tested on these occasions but this is a movie that draws you in with its performances and proves compelling because of them. Few movies take the time to examine in detail how their characters feel, and why, but The Danish Girl – thanks to Lucinda Coxon’s screenplay – does it throughout and with an honesty that uplifts what could have been an entirely depressing story. But then again, this is a movie about courage and determination against the odds, and at a time when transgender issues were only just beginning to be addressed by the medical community. And the movie tackles these issues with a tremendous amount of sympathy and compassion.

The movie has another distinguished, evocative score courtesy of Alexandre Desplat, and is beautifully framed and shot by Danny Cohen (though again, Hooper’s choice of muted colours remains an issue). And Melanie Oliver’s editing is another strength, her ability to utilise a combination of static shots and measured cutting helping to improve the visual style. Away from the main story, the movie drops the ball on only two occasions: with the subplot involving Gerda’s attraction to Hans, which is unnecessary and would seem more relevant if this were a soap opera; and Lili’s relationship with Henrik, which isn’t explored fully, and which adds confusion to the already confused state she’s in at the time (just what is their relationship about?). But these issues aside, the movie is the kind of intelligent, clearly defined movie making that doesn’t come along very often, and which does enormous justice to its central characters.

Rating: 8/10 – with a virtuoso performance from Redmayne, and an equally impressive turn from Vikander, The Danish Girl is a riveting true story about the recipient of the world’s first sex change operation; impressively mounted, and with an honesty that permeates every scene, this is a movie well worth investing the time with, and which rewards on almost every level.

The Absent One (2014)

06 Monday Jul 2015

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Fasandraeberne

Original title: Fasandræberne

D: Mikkel Nørgaard / 119m

Cast Nikolaj Lie Kaas, Fares Fares, Pilou Asbæk, David Dencik, Sarah-Sofie Boussnina, Danica Curcic, Nikolaj Groth, Søren Pilmark, Beate Bille, Marco Ilsø, Philip Stilling, Kristian Høgh Jeppesen, Johanne Louise Schmidt, Hans Henrik Clemensen, Peter Christoffersen, Katrine Rosenthal

At a police awards ceremony, cold case investigator Carl Mørck (Kaas) is accosted by a retired policeman who begs him to look into the case of his two children who were both killed in 1994. Mørck refuses, and later the man commits suicide, prompting Mørck, supported by his partner Assad (Fares) to look into the case. They learn that the siblings both attended the same boarding school, and that there was a call to the police – made by a young woman – alerting them to the crime. With this as their only clue, Mørck and Assad visit the school where they learn that the young woman was probably Kimmie Lassen (Boussnina); but unfortunately for them she hasn’t been seen in twenty years.

Learning also that Kimmie’s friends at the time included now reputable businessmen Ditlev Pram (Asbæk) and Ulrik Dybbøl (Dencik), and that the man who confessed to the crime, Bjarne Thøgersen (Jeppesen), was represented by the best criminal lawyer in Denmark, Bent Krum (Clemensen), and only served three years in prison, Mørck and Assad sense a conspiracy. They visit Thøgersen who alerts Pram to the new interest in the deaths. Pram hires a man named Albjerg (Christofferson) to look for Kimmie, while Mørck endeavours to find her first. But an older Kimmie (Curcic) is also a very wary Kimmie, and with the help of her friend, Tine (Rosenthal), she manages to stay one step ahead of everyone when she becomes aware that people are looking for her. But Albjerg tracks her down, and though she gets away, she also has a run in with Mørck that leaves him bruised and battered.

Meanwhile, Pram and Dybbøl use their political contacts to put pressure on senior police in an effort to get Mørck and Assad taken off the case. Furious, Mørck confronts his immediate boss (Pilmark) and makes enough of a case from the evidence that he’s amassed to show that it should be pursued further, and that Kimmie Lassen holds the key to what happened twenty years ago. When she is finally caught by the police, it seems that Pram and Dybbøl’s arrest is only a matter of time. But Kimmie has other ideas: she escapes and goes after them herself, as much to kill them first, and as much again to make up for her involvement in the deaths of the young brother and sister.

Fasandraeberne - scene

As much a riveting crime thriller as its predecessor, The Keeper of Lost Causes (2013), The Absent One is another triumphal adaptation of a novel by Jussi Adler-Olsen. With almost everyone involved in the first movie returning to make this one, the movie is like a seamless addition to what is an ongoing series. The tone, the feel, the pace, and the sensibility of The Absent One is such that anyone who has seen The Keeper of Lost Causes can slip into the series’ bleak, gloomy mise en scene with ease, sure in the knowledge that what follows will be of an equally high standard, and equally as satisfying (if not more so).

There are several reasons for this, not least the taut, gripping screenplay by Nikolaj Arcel and his writing partner Rasmus Heisterberg. In distilling Adler-Olsen’s novel they’ve kept the focus on the ripple effect the murders have had over the years, as well as Mørck’s inability to let something go once he’s got a grip on it. The detective’s persistence and dogged nature – which are pretty much all he has to keep him going – is beautifully expressed through Kaas’s beleaguered performance. This is a man who keeps his pain externalised to stop it from eating away at him inside, but the payoff is a lack of compassion and sympathy for others; he only takes on the case in the first place because he can’t deal with the guilt of refusing the retired policeman. Kaas gives a wonderfully fractured portrayal of Mørck, growing further into the character and inhabiting him completely.

Ably supported by Fares, whose Assad is never a foil for Mørck, Kaas heads up a cast that never puts a foot wrong, even in the smaller roles. The script supports them all the way, assembling the pieces of the plot with skill and precision, letting the viewer glimpse the events of twenty years ago without spoiling the true nature of the killings, and allowing the mystery surrounding those killings to remain in place almost until the very end. It’s a bold, confident approach, and allows the tension inherent in the story to build to a quietly devastating denouement (and which puts Mørck through the ringer once more – but then he probably wouldn’t have it any other way).

Retaining his place in the director’s chair, Nørgaard keeps things tightly focused and highlights the psychological toll felt by Kimmie over the course of twenty years (she has a terrible secret of her own that, when revealed, is the most upsetting thing seen in either movie). It’s to Nørgaard’s credit that Kimmie’s humanity is never downplayed,  and in the hands of Curcic, she’s a character so far removed from her younger self (also extremely well played by Boussnina) that the sadness of her situation is almost palpable. (In a better world, she and Mørck would make for an interesting couple.)

While the villains of the piece aren’t as effectively drawn, their callous natures are given plenty of screen time, as well as the slow disintegration of their self-confidence and eventual hubris. Asbæk and Dencik are appropriately cold and uncaring in their roles, revealing the innate hostility towards others that privilege has bestowed on them, and providing strong counterpoints to Mørck’s own disdain for others. It’s all reflected in the somber, unforgiving violence and shadowy dangers that permeate the movie and which help to make it such a rewarding (if slightly downbeat) experience.

Rating: 9/10 – a sequel that is as equally good as its forerunner, The Absent One is a dark, atmospheric thriller that is as uncompromising as it is compelling; with two further movies in the pipeline, let’s hope that the makers can maintain the quality shown so far.

The Keeper of Lost Causes (2013)

06 Monday Apr 2015

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Keeper of Lost Causes, The

Original title: Kvinden i buret

aka The Woman in the Cage

D: Mikkel Nørgaard / 97m

Cast: Nikolaj Lie Kaas, Fares Fares, Sonja Richter, Peter Plaugborg, Søren Pilmark, Mikkel Boe Følsgaard, Troels Lyby

Following a police raid that leaves his partner, Hardy (Lyby) paralysed and another officer dead, detective Carl Mørck (Kaas) is transferred out of homicide and into Department Q, which deals exclusively with cold cases. His brief, along with his assistant, Assad (Fares), is to review the cases, submit a brief report and then close them. The first case he looks at concerns the apparent suicide of politician Merete Lynggaard (Richter) five years ago. Something about the case doesn’t make sense to Mørck and he reopens the investigation. He looks through the witness statements and finds that one statement wasn’t included in the final report: that Merete’s brother, Uffe (Følsgaard), who was with her on the ferry she is supposed to have jumped overboard from, was seen with a man in a raincoat.

Since Merete’s suicide, Uffe has resided in a home. Mørck and Assad visit him but his condition – brain damage from a car accident when he and Merete were children – prevents him from being of any help. A conversation with one of Merete’s colleagues reveals her liaison with a man at a conference shortly before she killed herself. Mørck gets hold of the list of attendees and photos that were taken at the conference. Suspecting that Uffe might recognise one of the men at the conference, they show him the various photos that show Merete and one of the male delegates. Uffe does recognise one of them, a man named Daniel Hale. With a solid lead to work with, Mørck’s investigation is brought up short by his boss, Marcus (Pilmark) following a complaint by the manager of the home and the original investigating officer. Unable to let things go, Mørck continues his investigation and travels to Sweden to speak to Hale.

When he and Assad get there, they discover that Hale died a few months after Merete’s suicide. They also discover that the man who attended the conference and was recognised by Uffe isn’t Daniel Hale. Learning that the man is likely to be a friend of Hale’s known as Lasse, the pair return to Denmark only to be suspended from duty. But again, Mørck can’t let things drop, and their investigation leads to an isolated farmhouse and a revelation involving the car accident that left Uffe in his current condition.

Keeper of Lost Causes, The - scene

The first of four movies adapted from Danish author Jussi Adler-Olsen’s Department Q novels – The Absent One (2014), A Conspiracy of Faith (2015), and The Purity of Vengeance (TBC) complete the quartet – The Keeper of Lost Causes is an efficient, gripping thriller that introduces possibly one of the dourest police detectives in recent cinema history. At one point, Assad remarks that he’s never seen Mørck smile. Mørck’s response? “My wife left me. My colleague’s dead, and my best friend’s a cripple … I don’t have a lot to smile about.” It’s a pithy, succinct summation of Mørck’s character, and while it seems in keeping with the recent trend in Scandinavian crime fiction and movies, the combination of Mørck’s gloomy outlook on life and Kaas’s glum demeanour raise this particular movie into the above average category.

With the central character so firmly established in the opening fifteen minutes, the movie is then free to concentrate on the mystery surrounding Merete’s apparent suicide. But as Mørck begins to piece together the clues that point to something more sinister, the script by Nikolaj Arcel takes a parallel line and shows the viewer what happened that day on the ferry. It’s a bold move, as the mystery elements inherent in the story are jettisoned in favour of a more cross-linear approach where the events of five years before run concurrently with the progress of Mørck’s investigation. This leaves the viewer with an entirely different type of crime drama than seems in play from the beginning, and while the villain of the piece enters the story quite late in the day, their appearance and the reason for their behaviour is cleverly revealed (even if what they actually do isn’t properly explained or feels credible).

The plot and various storylines play out with a surprising attention to detail, and Arcel’s adaptation does a good job of downplaying any implausibilities such as Mørck’s boss Marcus ignoring the progress he’s made in disputing the suicide theory. This aside, the movie is a solid, methodically paced crime drama that works best by keeping it simple, and Nørgaard’s unfussy, yet expressive direction is best exemplified by two moments of unexpected lyricism relating to Merete’s childhood. He’s good with the cast as well, eliciting strong, confident performances from all concerned. Kaas’s downbeat yet focused portrayal of Mørck is one of the things that makes the movie work so well; he’s completely credible as the impatient, disrespectful and arrogant ex-homicide detective who finds a new home in Department Q. And he’s matched for dedication and immersion in the role by Fares as Assad. Fares, who is Lebanese, spent two months learning Danish for the movie, but you wouldn’t know it. Assad is the sidekick role, but Fares brings a determination and an intelligence to the role that a lot of seasoned actors would have skirted past on their way to a more stereotypical portrayal.

Shot by DoP Eric Kress with an emphasis on dark, shadowy interiors and overcast, cloudy exteriors, the movie is recognisably part of the recent Nordic Noir genre that has spawned a myriad of similar tales both on the big screen and television. But thanks to a clever script, a director on top of his game, and a cast that brings credibility to (almost) every scene, The Keeper of Lost Causes is a terrific first movie in the series. If this outing is anything to go by, then the remaining three movies will definitely be ones to watch.

Rating: 8/10 – a well-paced, intelligent, and above all, absorbing crime thriller, The Keeper of Lost Causes is a testament to good story telling; quietly ambitious, the movie is a terrific example of how to maintain suspense without undermining either the plot or the characters.

Opstandelsen (2010)

06 Thursday Nov 2014

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Opstandelsen

aka Resurrection

D: Casper Haugegaard / 50m

Cast: Marie Frohmé Vanglund, Mads Althoff,  Jonas Bjørn-Andersen, Asta Stidsen, Roxanne Tirkov, Peter Althoff, Hans Maaløe

At the funeral of Simon (Peter Althoff), one member of his family is noticeably absent from the service: his brother Peter (Mads Althoff).  Peter’s other brother, Johannes (Bjørn-Andersen), and his sister, Esther (Vanglund), go to look for him.  They find him in the toilets, snorting cocaine.  He and Johannes argue, but Peter is dismissive when Johannes tells him the family is through supporting him with his drug problem.  Johannes and Esther return to the service; Peter continues to take cocaine.

With the drug affecting him substantially, Peter makes his way to the service.  When he does he finds scenes of carnage, with everyone under attack from the newly risen dead.  Scrabbling away he seeks refuge in another room and is joined by Johannes, Esther, and their younger sister, Maria (Stidsen).  Johannes finds a trap door and they all follow him down into the room below; in the process, Peter blacks out.

When he comes to, he finds they are trapped in a small room beneath the church, and with no safe way out.  Maria has been injured and with no way for her to stem the bleeding, Esther cradles her as she dies.  While the two brothers argue about what to do, Maria comes back to life and attacks Esther.  Peter and Johannes restrain her but have little option in the end but to kill her.  The shock of it all has a terrible effect on Esther and she retreats into her own mind.

Peter takes control of the situation and they leave the room, finding themselves in a maze of underground corridors and rooms.  Coming under attack from the undead at almost every turn, they fight their way to ground level but become separated, leading each of them into confrontations that will decide their eventual fate.

Opstandelsen - scene

A very, very low budget exercise in zombie terror, Opstandelsen is a compact feature that works better as a calling card to the industry than as a fully realised project.  The decision to shoot this as a short film was a wise one, and shows just how padded out by endless running around in tunnels/corridors/woods other horror movies have become.  It also helps the movie hit an above average number of dramatic high points, with the beleaguered trio facing (and fending off) attack after attack in their efforts to escape from the church.

The low budget necessitates some inventive responses to the challenge of presenting a church-bound zombie apocalypse, and while some work very well indeed – Maaløe’s fire and brimstone preaching from the pulpit (and practically blaming everyone there for what’s about to happen), an attack on Johannes through a door, Esther’s confrontation with her mother (Tirkov) – there are others that don’t, most notably the use of camera lights as the only form of illumination during a chase sequence below ground.  The editing is determinedly choppy during several of the attacks and it’s difficult to work out just what is going on (it gives the impression that some of the zombie make up and effects weren’t that great during those scenes).  It’s a shame, as these scenes would otherwise be quite effective at adding further energy to a movie that wastes little time in putting its main characters at risk and showing in gory detail what can happen to them.

There are things to be said for briefly introducing characters before letting the action take hold, but here it does lead to some problems, the main one being the way that Peter shakes off the effects of some very excessive coke-snorting to become as focused as he does (either he’s very used to it or the cocaine wasn’t as pure as it looks).  And the way in which Johannes earnestly prays to God for protection – giving the impression he may fold under the pressure – isn’t followed up or allowed to get in the way of his subsequent heroics.  Otherwise, the narrative follows a fairly standard formula, whittling down its cast until there’s only one survivor, and leaving things open-ended as to where the story might go next.

With a strong, heavily stylised visual aesthetic in play, Opstandelsen is often potent stuff, with its gruesome splatter effects used sparingly and with unflinching attention to detail, leaving the unprepared viewer to deal with some purposely raw and violent imagery; fans, however, will lap it up.  Haugegaard drives the action forward, making the movie a kinetic treat, allowing only the briefest of pauses once the trio leave the room below the trap door.  Some of the more violent, dramatic scenes are abetted by having Lasse Elkjær’s pounding score jacked-up in volume, and the soundtrack is beefed up as well, making all the lip-smacking zombie sounds that much more appalling to hear.  As an attempt to further highlight the awfulness of what’s happening, it’s unnecessary, but it does fit in with the movie’s unsubtle, in-your-face approach to the material.

Rating: 6/10 – very rough around the edges, and with performances that are perfunctory if not memorable, Opstandelsen is a short that bodes well for Haugegaard’s future projects; seriously grim and grisly throughout, fans of zombie movies will find much to enjoy even if the storyline offers very little that’s new.

Antboy (2013)

19 Wednesday Feb 2014

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Antboy

D: Ask Hasselbalch / 77m

Cast: Oscar Dietz, Nicolas Bro, Samuel Ting Graf, Amalie Kruse Jensen, Cecilie Alstrup Tarp, Caspar Phillipson

Based on the books by Kenneth Bøgh Andersen, Antboy is Denmark’s first superhero movie, a “small” tale about twelve year old Pelle who gets bitten by a radioactive ant.

Pelle is one of the ordinary kids, he doesn’t stand out in any way, he’s not particularly noticeable, and he has a crush on Amanda (Tarp), a girl in his class who, in classic fashion, doesn’t even know he exists.  One day after school he sees two bullies harassing comic book nerd Wilhem (Graf).  He intervenes, which saves Wilhelm, but leads to Pelle’s being chased by the bullies.  He evades them by hiding in the garden of an empty house.  Just as the coast is clear he is bitten by an ant.  Pelle passes out, and when he comes to, he goes home without a clue that everything has changed for him, and that he now has superpowers.

The next morning Pelle’s new powers begin to manifest themselves: his hand sticks to a milk carton, he has incredible strength, his sense of smell is heightened, and perhaps most worryingly of all, he discovers he can pee formic acid.  With Wilhelm noticing some of these things, it isn’t long before the two of them are finding out the extent of Pelle’s powers and deciding he needs a superhero costume to go with them.  And so, after dismissing Antman because Pelle isn’t married (or a man), Antboy is born, and he quickly becomes a hero in his local community, apprehending muggers and saving people from car crashes.

Which proves to be a good thing as soon there’s a super-villain on the loose, The Flea (Bro).  The Flea is the scientist who was responsible for creating the ant that bit Pelle, but who now has replicated the same formula but using – you’ve guessed it – a flea instead of an ant.  He kidnaps Amanda and it’s up to Antboy and Wilhelm, aided by Amanda’s sister Ida (Jensen), to rescue her and bring The Flea to justice.

Antboy

If you’re already thinking “blatant Spider-Man rip-off” then put it to the back of your mind and move on.  Antboy does take the basic template of the Spider-Man story but then riffs on it in its own, unique way.  For a start, and thanks to Pelle’s age, we’re spared the teenage angst that comes with Peter Parker’s story, and there’s none of that “with great power comes great responsibility” baggage either.  Instead, Pelle grows in confidence and enjoys being a superhero.  He retains his secret identity without putting others at risk all the time, and he develops a bit of a crush on Ida (there’s also time for a bit of payback on the two bullies).  It’s this guilt-free approach that helps make Antboy so enjoyable.

The casting is a plus as well.  Dietz has a cherubic face and surprisingly expressive eyes; when he has his Antboy mask on you can still see how he’s feeling.  He’s a very confident young actor and doesn’t appear daunted by the material in the least.  In fact, he makes it all look easy, and the movie, while never dull, always picks up a bit when he’s onscreen.  As his sidekick and chief costumier, Wilhelm, Graf sports big glasses and a grave manner throughout, and is more Alfred than Robin.  It’s a little bit worrying that Wilhelm is so handy with a sewing machine, and that he has one in his room, but it’s a nice touch nevertheless, and anyway, what superhero origin story doesn’t have the odd idiosyncrasy?  Bro, who looks too much like Timothy Spall at times, is a fun adversary and has pleasingly low-key reasons for his villainy (no destroying the world for him), and his costume is quite impressively detailed.  Jensen and Tarp are given little to do in comparison, but as the focus is quite rightly on the boys, this is unavoidable; the short running time doesn’t help either.

As directed by Hasselbalch, Antboy is a superior entry in the superhero arena, with deliberately simple and effective special effects, and a charming approach to what it would mean to a pre-teen if this were to really happen.  The script, by Anders Ølholm, is entertaining and precise, and the characters are clearly drawn and well fleshed out by the talented cast.  There are plenty of humorous moments, and the encounters between Antboy and The Flea are well-orchestrated.  With its slender running time, Antboy packs a lot in and leaves the viewer wanting more, so the expected sequel (due by the end of 2014) will come around with not a moment to spare.

Rating: 8/10 – an engaging treat for those superhero fans who might like to see a less darker, more simple movie than we’re being treated to at the moment; winning in all departments, Antboy shows how a lot of imagination can be achieved on a low budget.