Queen of Hearts (Dronningen)


That feeling you get when you realize you’ve crossed the line.

(2019) Drama (Breaking GlassTrine Dyrholm, Gustav Lindh, Magnus Krepper, Liv Esmǻr Dannemann, Silja Esmǻr Dannemann, Stine Gyldenkerne, Preben Kristensen, Frederikke Dahl Hansen, Ella Solgaard, Carla Valentina Philip Røder, Peter Khouri, Mads Knarregorg, Marie Dalsgaard, Elias Budde Christensen, Noel Bouhan Kiertzner, Nessie Beik. Directed by May el-Toukhy

 

Family dynamics are often fragile things. While they are ever-changing as children get older and enter different stations of life, they can be disrupted by all sorts of things – including the presence of an interloper who is suddenly brought fully formed into that dynamic.

Anne (Dyrholm) and Peter (Krepper) are an upper-middle class Danish couple with two young daughters. She is a lawyer who defends victims of sexual abuse; he is a physician. They live in a beautiful modernist home in the suburbs of Copenhagen, surrounded by sun-dappled natural beauty. They have a nice network of friends their age.

Into this is introduced Gustav (Lindh), Peter’s teenage son from a previous relationship. Gustav has a lot of issues; he isn’t particularly fond of Anne because he blames her for breaking up the relationship between Peter and his mother (not entirely true). He isn’t particularly fond of Peter because Peter hasn’t been around much – at his mother’s insistence, although that isn’t a factor to him; if Peter really wanted to be around, he would have, right? Of late Gustav has been acting out and getting into trouble at school and his exasperated mother, no longer able to handle her son, ships him off to Peter to see if he can do better.

At first, it doesn’t seem so. Peter and Gustav often butt heads as fathers and sons will. The house is broken into and Anne discovers that the culprit is Gustav himself; instead of telling his father, she keeps that to herself and lets her stepson know he is treading on thin ice. That seems to work with him; the two begin developing a relationship. It doesn’t hurt that the two girls are enormously fond of Gustav and vice versa.

Anne is also at this time becoming increasingly frustrated with Peter who is, like many doctors, often not present, whether attending to an emergency or at a medical conference. Anne is entering that phase of middle age where she is getting more sexually needy and Peter just isn’t handling it. Against her better judgment, she begins developing a physical desire for Gustav, a desire that is brought to fruition. As she realizes the consequences of her actions, Anne comes to a fateful decision that will have enormous ramifications in her family, her marriage – and her own self-worth.

The subject is somewhat controversial, particularly since there is a gender politics aspect to it. One wonders if viewers would feel the same way if Gustav had been a girl and Peter the one having an affair. In fact, those are the sorts of cases that Anne represents, so you know she knows better. While initially she may have the moral high ground – at one point she confronts the abuser of one of her clients in a parking garage – she certainly may lose it depending on how you feel about these things. Some say that Peter’s neglect drove her to this kind of desperation, but once again, if the sexes were reversed would that argument still hold up?

What-ifs aside, there are some compelling performances here, particularly Dyrholm as Anne. She is one of Denmark’s leading actresses and while she is not well-known in the United States except among cinephiles and overs of Scandinavian films, she deserves to be. All she does is turn in one wonderful performance after another.

Those who are disturbed by nudity should be aware that the nudity here pulls no punches. We see pretty much everything of Gustav and Anne, and their first sex scene is a lot more graphic than American audiences are used to, even more so than the late-night Cinemax flicks of the 80s and 90s that some have compared this to – unfairly, I might add. More than the nudity – which takes a certain amount of courage for a middle-aged actress – there is an emotional honesty to Dyrholm’s performance that is invigorating. We get to see layers of Anne’s personality; she isn’t the paragon of virtue that she believes herself to be and when push comes to shove, she does something that some might consider unforgivable and they wouldn’t be wrong. We understand why she does it but the fallout from her actions are bleak indeed.

Lindh has a less challenging role but he manages to hold his own with Dyrholm here. Krepper has a fairly colorless character to portray but he has a few moments and when he gets them, he makes the most of them. Most of the other aspects of the production – set design, music, cinematography and so forth – are professionally done.

There is a lot to unpack here and I won’t begin to go into all of it. Much of what you get out of this movie will depend on what you bring into it; your moral compass, your own belief system and ideas about sexuality. Your opinion about whether Anne is a villain or not will largely color how you feel about this movie. For my part, this is an excellent drama that gives you an awful lot to think about which is the kind of drama I live for. Very highly recommended.

REASONS TO SEE: Dyrholm is one of the most unsung actresses in Europe. A bleak, devastating picture. The ending ties very nicely to the beginning.
REASONS TO AVOID: The film is a little bit slow to develop.
FAMILY VALUES: There is graphic nudity and sex, some profanity and sexual situations.
TRIVIAL PURSUIT: This is Denmark’s official submission for the International Feature Film Award at the 92nd annual Academy Awards in 2020.
BEYOND THE THEATERS: Amazon, AppleTV, Google Play, Vudu, YouTube
CRITICAL MASS: As of 11/30/19: Rotten Tomatoes: 95% positive reviews: Metacritic: 67/100
COMPARISON SHOPPING: Ben is Back
FINAL RATING: 8.5/10
NEXT:
The Irishman

The Commune (Kollektivet)


A communal meal isn’t always a peaceful one.

(2016) Drama (Magnolia) Ulrich Thomsen, Fares Fares, Trine Dyrholm, Lars Ranthe, Julie Agnete Vang, Helene Reingaard Newmann, Ole Dupont, Lise Koefoed, Magnus Millang, Martha Sofie Wallstrøm Hansen, Mads Reuther, Anne Gay Henningsen, Jytte Kvinesdal, Morten Rose, Rasmus Lind Rubin, Adam Fischer, Ida Maria Vinterberg. Directed by Thomas Vinterberg

When we think of the 70s, what comes to mind is recreational drug use, long hair, bell bottoms, anti-war protests and free love. Although communes still exist, they are more like co-ops these days rather than all of the inhabitants sleeping with each other, although there are some like that to be sure.

Erik (Thomsen) is a somewhat stuffy professor of architecture at a University in Copenhagen. His wife Anna (Dyrholm) is a beautiful news reader working for the national broadcast network. When Erik inherits what is essentially a mansion from his father in a rural suburb of Copenhagen, he initially wants to sell it; their daughter Freja (Hansen) wants to move into it but it is Anna who comes up with the idea they eventually adopt – to invite friends and strangers to move in and create their own commune.

You see, Anna has become somewhat bored in her marriage and wants variety, but as they say, be careful what you wish for. She and Erik invite friends at first like Ole (Ranthe) who has a bit of a temper but soon they are inviting fascinating strangers and before too long there are a dozen or so adults and children living in the commune.

Things go pretty well at first but things begin to lose cohesion. One of the children who has a heart condition (and quite the crush on Freja) is taken to the hospital, scaring the whole community on Christmas Eve. But to make matters worse, Erik falls in love with Emma (Newmann), one of his students and invites her to join the Commune. At first, Anna is pretty sanguine about the whole situation but she begins to crack and soon the tension in the Commune becomes nearly unbearable.

I’m not so sure this is an indictment of free love and the sexual politics of the 70s as it is more or less simply presenting the pros and cons. In all honesty most of the couples in the commune stay fairly faithful to one another with the exception of Erik – and it must be said that Anna paved the way for that in many ways. Judging Erik by standards that are 40 years after the period depicted here isn’t really fair but by our standards he’s quite the jerk.

The performances here are top-notch; most of the actors are not well-known in the U.S. with the exception of Fares and to a lesser extent Thomsen. The prize though goes to Dyrholm who goes from a strong and confident woman to an absolute mess by the end of the film. Badly shaken not so much by Erik’s infidelity – I think she could have handled an affair so long as Erik still loved her but once it became a case where Erik loved Emma and not Anna she was absolutely destroyed.

The director manages to get the era right between the colloquialisms, the products and the overall attitude. The cinematography is a little bit on the washed out side for exterior day shots (and underlit for night shots both inside and out) which also gives the film a look of a film made in that era.

Despite the pathos and drama (and there’s a lot of the latter) there is some comedy as well that comes up at unexpected times. The Danish have a very quirky sense of humor and it shows here when its needed. What’s not needed is some of the pretentious dialogue – and I realize back in that decade people tended to talk like walking manifestos – and especially the soap opera aspects of the film which are also many. That detracts from a film which most of the rest of the way is serious and fascinating.

Still, human relationships are tricky things whether you’re talking about the 70s or the 2010s. We are complicated little monkeys and we do things sometimes that make no logical sense. It is said that being alone is perfection – you make all your decisions and do as you please when you please. Two is a compromise and three is a disaster. The more people you put at the same table, the more complex things get.

Vinterberg has some really great films to his credit including one of my all time Florida Film Festival favorites The Hunt. This is another strong movie on his filmography and he continues to be a director who hasn’t yet really gotten the credit he deserves here in the States. Then again, he hasn’t done a lot of English language films yet and I’m not sure he needs to. Still, he’s one of those directors whose name on the credits means I’m instantly interested in seeing his film. There are not many about whom I can say that.

REASONS TO GO: The sexual politics are captured nicely. The film is very evocative of its era. Thought-provoking, the movie manages to get in a little bit of comedy as well. The performances are strong all around.
REASONS TO STAY: Pretentious in places, the movie sinks into soap opera a little too much.
FAMILY VALUES: Here you’ll find nudity, sexuality and profanity.
TRIVIAL PURSUIT: The movie is based on a play Vinterberg wrote about his own experiences as a child growing up in a commune.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Vudu, YouTube
CRITICAL MASS: As of 8/2/17: Rotten Tomatoes: 72% positive reviews. Metacritic: 60/100.
COMPARISON SHOPPING: The Overnight
>FINAL RATING: 8/10
NEXT: Lady Macbeth

New Releases for the Week of June 7, 2013


The Internship

THE INTERNSHIP

(20th Century Fox) Vince Vaughn, Owen Wilson, Max Minghella, Rose Byrne, John Goodman, Will Ferrell, Aasif Mandvi, Josh Gad, Dylan O’Brien. Directed by Shawn Levy

Two old school salesmen are left in the lurch when the company they work for shuts its doors. Unable to find work utilizing their talents they seize what could be their last chance – an internship at Google. Competing against much younger applicants who are much more technologically savvy than they are, it will be up to them to prove their worth in this brave new world and that you can, after all, teach old dogs new tricks.

See the trailer and a clip here.

For more on the movie this is the website.

Release formats: Standard

Genre: Comedy

Rating: PG-13 (for sexuality, some crude humor, partying and language)

Love is All We Need

(Sony Classics) Pierce Brosnan, Trine Dyrholm, Molly Blixt Egelind, Paprika Steen. Two middle aged people whose own romantic lives have been disappointing travel to Italy to attend the wedding of their children. As it turns out, a change of scenery could be just what their hearts need. From director Susanne Bier whose last film was the Oscar-winner In a Better World.

See the trailer and a clip here.

For more on the movie this is the website.

Release formats: Standard

Genre: Romantic Comedy

Rating: R (for brief sexuality, nudity and some language) 

The Purge

(Universal) Ethan Hawke, Lena Headey, Adelaide Kane, Max Burkholder. In the near future, the crime rate has plummeted to near zero. The reason for that is that for one night every year for twelve hours, all crime is legal – including murder. The police take the night off. Hospitals shut their doors. Citizens are on their own. One family, in a gated community with expensive security, expects to hunker in their bunker and wait out the storm but when a stranger comes a’knockin’, the movie starts a’rockin’.

See the trailer and clips here.

For more on the movie this is the website.

Release formats: Standard

Genre: Thriller

Rating: PG-13 (for strong disturbing violence and some language)

Stories We Tell

(Roadside Attractions) Sarah Polley, Tom Butler, Peter Evans, Michael Polley. Oscar-nominated director Sarah Polley looks at a single extended family and examines how their recollections of a critical event in the family’s history has shaped them – and how those memories differ from person to person. The family in the crosshairs of her camera lens? Her own.

See the trailer and a clip here.

For more on the movie this is the website.

Release formats: Standard

Genre: Documentary

Rating: PG-13 (for thematic elements involving sexuality, brief strong language and smoking) 

Violet and Daisy

(Roadside Attractions) Saoirse Ronan, Alexis Bledel, James Gandolfini, Danny Trejo. A pair of teenage assassins take a surreal trip through New York. They are tested with a series of opponents with varying skills and degrees of difficulty. They also meet a mysterious man, the encounter with whom may turn out to be life-altering..

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Action

Rating: R (for violence, disturbing behavior and language) 

Yamla Pagla Deewana 2

(Sunny Sounds) Dharmendra, Sunny Deol, Bobby Deol, Kristina Akheeva. The trio from the hit movie Yamla Pagla Deewana reunite in England. When one of them opens a nightclub in London, the other two come help him celebrate but can’t resist pulling off another con job which lands all three of them in hot water.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Bollywood

Rating: NR