Kris, living with her uncle since her teenage years, is starting to second guess her current life, at her disabled uncles farm. As love crosses her path, a possible life changing question emerges.
8 wins & 8 nominations.
Tokyo Grand Prix – Tokyo International Film Festival 2019Read More »
Little Per has become a boy scout. As a boy scout he has to help other people in need, but things take a turn for the worse and Little Per goes missing. Now it is up to the family to find him…Read More »
The lives of two Danish families cross each other, and an extraordinary but risky friendship comes into bud. But loneliness, frailty and sorrow lie in wait.Read More »
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This film about the Deer Garden, a forest park north of Copenhagen, was an assignment to celebrate the Deer Garden’s 300th anniversary. Leth and the painter Per Kirkeby above all wanted to do an attractive film about life in the forest orchestrated around the four seasons. The photography is heavily inspired by the Danish Golden Age painters’ view of nature. Kirkeby, Leth and DP Henning Camre worked on and off for a full year to find the ideal light and the optimum framing, seeking out the truly beautiful. As Leth puts it, “there was complete…golden-section control of the whole film. “The narrative holds tiny traces of romantic-poetry notions of mystical and mythical forest life: a nude woman appears among the tree trunks and vanishes again like a fairy girl on a summer night. Read More »
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The white sand sparkles in the hot sun beside the clear blue waters of the Turkish Riviera. Young, blonde, clad in light summer garb and an oversized hat, Sascha (Victoria Carmen Sonne) looks as though she was made for this place. She drifts around the hotel pool on an inflatable crocodile, leans out laughing in the bow of a yacht or giggles over cocktails. One day, buying strawberry ice cream, she catches the eye of a young Dutchman, Thomas (Thijs Römer). But Sascha is already attached – to fortysomething mobster Michael (Lai Yde) – a man whom she has already learned will respond to disloyalty with violence…Read More »
From the cover:
In this small film, shot in Estepona in the south of Spain, Jørgen Leth and Ole John pursue the principle of asynchronisation and the juxtaposition of disparate elements. The images are footage from a barbershop, a talking man’s face and black film. The sound likewise embraces three elements: a story of how cement is made, which has neither head nor tail; a recording of a shave; and Louis Hjulmand’s score. The tight framing lends the mundane act of a shave a beauty of its own. Meanwhile, in the juxtaposition of near-rambling monologue and music, something else emerges, something more. As a viewer, you try to connect the two, but because no such connection exists, you have to surrender to the pure “experience” of images and sound. The title, a Danish Social-Democratic election slogan, is meaningless in this context. However, if you play around with the juxtaposition of the world “security” and the shots of the man’s soft skin and exposed neck under the barber’s sharply honed razor, the mock meaning rubs up against an altogether different one.Read More »
When one of the members of a gang of young criminals wants out, he is put under severe pressure.Read More »
This central work makes a grotesque attempt to organize life according to a series of captions, cataloguing life’s elements. No more, no less. A series of tableaux showcases actors and other well-known Danes as ‘examples’ of the emotions, conditions or phenomena discussed by the neutral, authoritative voiceover: Faces, Bodies, Objects, Necessary Acts, Unnecessary Acts, Good Thougts, Bad Thoughtd and more. Leth opens with a typical statement: ‘Life is interesting. We will study it.’ The director has described the film as a collage or a catalogue of life. Elsewhere, he has called it a surrealist comedy. A bit of everything, it looks like no other film ever made.Read More »
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[Kære Irene] is a curiously Muggeridgian movie attacking the new, sexually liberated society of Denmark from an undoctrinaire Marxist standpoint. Thomsen’s people have achieved freedom; indeed they talk about almost nothing else. They sleep around, they are unillusioned, they know the limits of their responsibilities. Flesh slaps sullenly on flesh, and after lovemaking there is always a bottle of beer to be opened, an appointment to be kept, a husband and a child to return to. Isolation is a condition accepted as inevitable as life itself. – Jonathan Raben, New Statesman, England.Read More »