When Mette and her father are left alone over the Christmas holidays to paint the new nursery the father ends up alone most of the time. The 16-year-old Mette is always off with her friends at the disco or skating, and the father does not mind until he discovers that young Jønne has taken some semi-nude photos of Mette and clearly is intending to go further in their relationship. Suddenly the father starts hanging out with Mette and her friends as they practice winter sports together – and there is hardly anything stranger, or more embarrassing, as far as Mette is concerned. It is clear that father and daughter are heading toward a change in their relationship as both have to adjust to her “growing up.” Written by Ørnås Continue reading
Amos Vogel in Film as a Subversive Art:
A censorship landmark case: the entire plot pivots on an act of intercourse, during which the woman accidentally discovers the vital clue to the film’s mystery. The complete absence of nudity and total relevance of the scene to the plot posed an impossible problem for the American censors, and led, upon appeals against its prohibition, to the abolition by the Supreme Court of the entire system of American state censorship in 1967. This development contributed significantly to the later era of sexual permissiveness in the American cinema. Continue reading
Two siblings who grew up in a dysfunctional household pass their damage along to those around them in this drama from Danish filmmaker Thomas Vinterberg. Nick (Jacob Cedergren) was raised by a mother with serious drinking problems who inflicted physical and emotional cruelty on her children. Now in his early thirties, Nick is an ex-con who has his own problems with alcohol and little sense of direction in his life. Back on the streets after a stay in jail, Nick lives in a shabby hostel, has an on-again, off-again relationship with Sofie (Patricia Schumann), whose alcoholism has cost her custody of her children, lifts weights and sometimes looks in on Ivan (Morten Rose), the troubled brother of a girl he one loved. Meanwhile, Nick’s younger brother (Peter Plaugborg) has his own demons; he’s a heroin addict who is running out of ways to finance his habit, and while he loves his young son Martin (Gustav Fischer Kjaerulff), managing his habit and looking after his child are more than he can manage at the same time. Adapted from the novel by Jonas T. Bengtsson, Submarino was an official selection at the 2010 Berlin International Film Festival.allmovie Continue reading
‘Kammesjukjul’ is a children’s Christmas movie made for television. It is basically a portrayal of the odd (in retrospect) childhood experiences which, at the time they occur, hold some mysterious significance. The movie is set at Christmas time, but the Christmas setting is not really important for the appreciation of the movie.
Mads is not going to a Christmas tree party this year because his father’s company is way too small for that. Therefore, Mads decides to arrange his own party. He invites some of his friends and his teacher’s grandson for the party. Arranging a party is of course not easy for a young boy; it involves theft, intrigues, lying… Do Mads overcome the difficulties, or will there be no Christmas tree party? Continue reading
An elegant and humorous film-in the guise of a serious anthropological treatise-spotlights “The Perfect Human,” a model of the modern Dane created by our wishful thinking. Continue reading
This X rated feature finds a young and sexually inexperienced woman
arriving home from boarding school to find her mother having sex
with a man. Traumatized, she flees the scene and ends up in a
hippie coffee house. She smokes hashish, engages in lesbianism and
has sex with a black American medical student. Exotic dancers,
Hell’s Angels and other colorful characters are included in the young girls sexual awakening.
“Now Lars von Trier, one of Dogma’s founders, has used these techniques to produce a two-hour, semi-pornographic Mentos commercial.” – A.O. Scott, The New York Times
Lars von Trier is, to me, one of the most consistently intriguing media figures of the last few years. He’s so determined to carve a niche for himself in film history that he seems to be guaranteed one, at very least, due to his grandstanding. Critical reception to this self-proclaimed genius is certainly mixed. It’s not surprising that he is usually able to alienate a good portion of his audience before they even view his film. Others, like Scott, seem unable to get a concrete grasp on what they’re watching. For my money, the film is a masterpiece. Combined with his other 2000 U.S. release, Dancer in the Dark, von Trier has proven his self-proclamations of cinematic genius to be true. Continue reading