ScreenFish

where faith and film are intertwined

Denmark

Another Round – Just a Little Buzz

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The ancient Greek playwright Aristophanes is credited with saying, “Quickly, bring me a beaker of wine, so that I may wet my mind and say something clever.” Those of us who drink may recognize that concept. A touch of alcohol can make us just a bit more outgoing, more witty, more entertaining. Of course, too much alcohol can lead in the opposite direction. In Thomas Vinterberg’s Another Round (original title, Druk), that idea is central.

Martin (Mads Mikkelsen) is a teacher who is feeling a bit of middle-aged ennui. He’s just going through the motions at school and in his family. He’s afraid that his life has become boring. When he goes out to celebrate of his friend’s fortieth birthday, the discussion comes around to a theory propounded by Norwegian psychiatrist Finn Skårderud, that people need a constant blood alcohol concentration of 0.05% to be at their best. (For reference, most states have a 0.08 BAC limit for driving.) Martin and his three friends (played by Thomas Bo Larsen, Magnus Millang, and Lars Ranthe), also teachers, set about to test this hypothesis. They even treat it as a psychological experiment, making notes about their experiences.

Martin begins to want to connect with students, his wife, his sons. All of the friends find that sneaking that drink from time to time during the day has improved many aspects of life—even during the times they aren’t drinking. Since that 0.05 BAC did so well, they decide to step it up, to see if there’s an upper limit. That, of course, is when the troubles begin. What started out as making life better, turned into a nightmare.

In press notes, Vinterberg says, “We want to create a tribute to alcohol but it goes without saying we also want to paint a nuanced picture. Embedded in our examination of the essence of alcohol lies an acknowledgement that people die from – and are destroyed by – excessive drinking. An existence with alcohol generates life, but it also kills.” The film is full of examples of people from history who were known for their drinking, such as Winston Churchill and Ernest Hemingway. But even there, the film reminds us that the former led Britain in winning World War II, while the latter, in spite of great literary success, committed suicide.

I find it worth noting that the film opens with a quote from Søren Kierkegaard, and Kierkegaard comes up again later in the film as a student goes through an oral exam. Maybe it’s just because the film is Danish, but bringing a proto-existentialist theologian into the equation calls us to think in deeper terms than just watching a group of men drink. The film really asks (but knows it cannot answer) the question of if such drinking brings happiness or destruction. It holds both scenarios and reminds us that, like other aspects of life, we are in constant tension between the two.

Another Round is available on VOD

Photos courtesy of Samuel Goldwyn Films.

The Commune – Individual and Society

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Is it possible for something to build up and tear down at the same time? In The Commune, a group of friends form a commune in 1970s Copenhagen. It is an adventure that is both fun and challenging. Sometimes the differences between the residents are humorous, but all this togetherness can also break down things that seemed solid.

Erik (Ulrich Thomsen) inherits his father’s very large house. He would like to sell, but his wife Anna (Trine Dyrholm) convinces him that they should invite a diverse group of their friends and create a commune in the house. It is a new experience for everyone. This new common life, run very democratically, brings them together in new ways to find the enjoyment of life. That is what Anna was looking for—something to break the monotony of family life.

But soon Erik also finds a break. He begins an affair with one of his students. In time, the student also joins the household, which brings even more tension into Anna and Erik’s marriage. The tensions begin to erode the very fiber of the marriage and the commune.

Director and co-writer Thomas Vinterberg actually grew up in a commune between the ages of 7 and 19. It must have been an interesting childhood that he is able to share with us in this film. Eric and Anna’s son and daughter may well serve as Vinterberg’s surrogates in the film, allowing us to see this group through younger eyes.

Although in hindsight we may think the idea of a commune is a bit strange, at the time it was one of the ways people were beginning to experiment with different ways of living. It was not about rejecting society’s norms, it was an attempt to bring new ways of expressing the values we hold important. Key in this communal relationship is democracy. Even as they add new people it is by vote—usually consensus. When Erik’s affair is discovered, it is important that honesty comes to the fore. But those same values lead to the deterioration of the bonds that are holding these people together. Eventually, some of those bonds will have to be broken for the larger body to survive.

The film provides insight into the complex relationship between individuals, families, and societies (with the commune serving as a microcosm of society as a whole). It also allows us to consider how decisions at any of these levels affect all involved. The choices of individuals affect the whole group. Likewise, the group’s interactions affect each individual. To be able to live together in families or societies requires the recognition of responsibilities and also of the needs and concerns of others beyond ourselves. When those are not fulfilled, society (as with this commune) faces trouble.

Photos courtesy of Magnolia Pictures.

Land of Mine – Hating the Enemy

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“If you’re old enough to go to war, you’re old enough to clean up your mess.”

At the end of World War II, the Danish army used German POWs to clear their beaches of over two million landmines the Germans had put there during their occupation. Land of Mine (Denmark’s official Oscar entry) is inspired by that history. It is a story that Danes have not really paid attention to through the years, because it was actually a war crime by the Allied forces at the end of the war.

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As the film opens we see Danish Sergeant Rasmussen in his jeep watching a long row of German prisoners marching by. When he sees one carrying a Danish flag as a souvenir, Rasmussen beats him mercilessly. Rasmussen goes on to oversee a dozen young POWs who are detailed to demine a particular section of beach, having been promised that after they clear the beach of the 70,000 mines there, they will be able to return home. The POWs have had minimal training in their task. No one in Denmark really seems to care if any survive. They are, after all, the remnant of an occupying army that has treated Denmark badly. They are kept locked up at night in a small building. They are given very little food.

Over time Rasmussen moves from utter contempt for his charges to seeing them as people who are in over their heads. He may even have a grudging respect for the humanity he begins to see in them in spite of the German uniforms they wear. He even finds that he shares some duplicity in an unjust and perhaps even dishonorable situation. For the Germans this is seen as a chance to finally get home. Some of them share dreams of what they will do on their return. Others doubt that there will be much left of their society. Still others understand that they may not live through this.

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The film sets up a contrast between the beautiful Danish beach and the deadly mission that is underway. The scenery seems so inviting and peaceful, yet we know it is a place of danger and death. That peaceful/violent dichotomy reflects the emotions at play in the film as well.

I saw this film not long after I had screened Behind Bayonets and Barbed Wire, a documentary about the mistreatment of American and British POWs by the Japanese during the war. That film pointed out that the Geneva Convention forbids using POWs for dangerous jobs. What we see being done to the Germans is definitely outside international law. It is for this reason that much of this subject has been kept out of most public discussions.

Of interest is the attitude that is expressed towards the Germans. It is understandable that the Danes would have anger toward them. Rasmussen’s attack on a prisoner in that opening scene exemplifies the hatred that the Danish people had toward the occupying Germans. There are scenes that show hateful abuse towards the German soldiers. Such, we might conclude, is part of war. We dehumanize our enemies and then feel free to do unspeakable things to them. But Jesus taught “You have heard that it was said, ‘You shall love your neighbor and hate your enemy.’ But I say to you, Love your enemies and pray for those who persecute you, so that you may be children of your Father in heaven.” (Matt. 5:43-45) We may well know and affirm those verses, but it is a very difficult teaching to actually live out—especially when there has been great animosity over a period of time. By showing the depth of hatred that can be eventually overcome (at least partially) the film offers a hope that we are capable of living out Jesus’ teaching.

This film won the World Cinema Audience Award at AFI Fest.

Photos courtesy of Sony Pictures Classics

 

AFIFest – More films from around the world

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Yesterday was another day of globetrotting at AFIFest Presented by Audi for me. One of the joys of film festivals is the chance to see the similarities and differences of cultures. That sometimes applies to the subcultures of American life we see as well. But it is especially true in foreign films. It is often very clear that in spite of the differences, we can very easily identify with the stories because the similarities are so strong.

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From Denmark comes a World War II film, Land of Mine. Actually the film is set just after the war. During the German occupation, Germany placed over two million mines along the Danish coast. The Danish army, now back in control, are forcing German POWs to clear the beaches of mines. It is a very dangerous job. (And one that I expect is outside what is permitted by the Geneva Convention.) The film follows about a dozen of these young soldiers who are placed under a Danish sergeant who has no love or compassion for them. As one Danish soldier says of the young soldiers, “If they’re old enough to fight, they’re old enough to clean up the mess.” Certainly the Danes believe that these Germans are expendable and don’t care a bit if they survive or not. But for the sergeant, there is a discovery of the humanity that he shares with the young Germans. Land of Mine opens in theaters in December and is Denmark’s official Oscar entry.

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Canada may not seem like globetrotting, but it is often a bit interesting to see films from Quebec that remind us that even in North America there are places that seem so like us, yet don’t even share our language. The Demons is the story of a ten year old boy growing up in suburban Montreal. Felix is very typical and the film is for the most part a slice of life look at typical preadolescent neuroses—worried about his parent’s marriage, his sexuality, his place in the school pecking order. About two thirds of the way through the film, there is a shift in tone that reminds us that some of the fears that children have may be very real and dangerous.

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Spain’s official Oscar entry is Pedro Almodovar’s Julieta. When we first see Julieta, she is happy. She’s preparing to leave Madrid with her boyfriend and move to Portugal. But a chance meeting on the street brings back memories of her earlier life—a marriage to a fisherman named Xoan, their daughter Antia, and the tragedy that changed her life. Now estranged from her daughter for over a decade, she begins to write a letter to her outlining her story. From the very beginning and the moody music that plays over the opening credits we are assured that this will be a dark and tense story. There is a sense in which Almodovar could be said to be channeling Hitchcock with this film. (And to me that is a very high compliment.) Like a Hitchcock movie, Julieta follows a path of descent in which a character borders on madness. Julieta opens in theaters near Christmas.

Photos provided by AFIFest

A War – Do Moral Standards Apply in Battle?

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In the chaos of battle, mistakes can be made. Oscar-nominated A War looks at some of the consequences of such mistakes on a very personal level. The film is from Danish director Tobias Lindholm who previously made a quite personal story about piracy in A Hijacking. Both stories focus on the people directly involved as well as others who are affected by the events.

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Claus Petersen (Pilou Asbæk) is a Danish army company commander stationed in Afghanistan. He is a well-regarded officer. His wife (Tuva Novotny) is struggling at home trying to hold things together with their three children who miss their father. One day on patrol, Petersen and his men get caught in a firefight. Eventually he calls for a rocket against a building he thinks is occupied by the enemy. Sometime later, investigators begin asking questions because the house only had civilians. Eventually, Petersen is returned home—good for his family, but bad because he must face criminal charges and possibly jail for killing civilians. Where is the truth about what really happened? Who is to be held responsible when such a mistake is made? Should things that happen in the heat of battle even be judged by standards of normal morality?

Tobias doesn’t seek to deal with these questions at abstract levels, but through the eyes of Claus, his wife, and children and then, through the courtroom scenes, with society’s expectations of those involved in warfare. In an interview, Lindholm noted an appreciation for American films about the Vietnam War. He is not so much interested in whether Denmark’s involvement in the war is right or wrong, but what effect the country’s participation in the war has on their collective conscious.

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The film divides into three sections: a war film, a family story, and a courtroom drama. Yet, the concept of morality is at the center of all of them. This is not about a persecution. In fact, Claus is as appalled by what happened as anyone. Even his children are affected by the events that happened half a world away. At one point his daughter asks, “Is it true you killed children?” How should he try to answer such a question? What responsibility does he have to be honest—to the court or to his daughter?

A War offers viewers a chance to consider the extent we should apply concepts of morality in questions of war. But the film is not just about what is acceptable to do in battle, but also what responsibility the society has in the acts of soldiers who are there on our behalf. It is also about what responsibility we have to those soldiers, even if they may have done things that are questionable under the stress of battle.

Photos courtesy of Magnolia Pictures