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Denmark

Godland – Faithless mission

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“I’m full of shit. Pray for me.”

Godland, written and directed by Hlynur Pálmason, has an interesting “inspired by” designation. We’re told that a box of old photographic plates was found in Iceland, and the story is inspired by those early photos. The story that develops from those plates is filled with light and darkness, beauty and shadows.

Lucas (Elliot Crosset Hove), a young Danish priest, is sent to Iceland to build a church in a remote part of the island and photograph its people. Before he goes, the bishop warns him that Iceland is not like Denmark. He is told he will have to adapt to their ways. The bishop reminds him of the Apostles who took the Gospel to all the world.

Rather than going directly to the location of the new church, he lands on the opposite side of the island and sets off with a guide, Ragnar (Ingvar Sigurdsson), and an interpreter on a grueling journey that shows him the ruggedness and the beauty of Iceland. But that journey is more that Lucas anticipated, almost killing him before it’s completed.

He awakens in a farmhouse where the new church is being built. We now begin to see how little attention Lucas paid to the bishop’s instructions. Although many of the people are bilingual, most prefer speaking Icelandic. Lucas doesn’t want to bother learning the language or the customs of the people. He is also very standoffish, not taking part in the building, only watching as others work. He fails to make any real connection with the people, except perhaps the farmer’s elder daughter who was born in Denmark and longs to return.

Lucas’s real passion has been taking pictures, some of people, but most of the “terrible beauty” of the landscape. He is far more concerned about his photography equipment than the large cross that has come with him from Denmark. On the journey, the cross is lost fording a river—a clue to what is going on within Lucas.

At one point Ragnar, who serves as an adversary to Lucas, asks “How can I become a man of God?” This puts the focus on Lucas and his role as a priest, that he does so poorly. There are various religious discussions and acts that come up through the film. The highlight of this is when Ragnar goes through a litany of confessions that increasingly challenge Lucas. In each, Lucas fails to do what we would expect from a priest. He seems to feel privileged because of his ordination, but perhaps more so because he is Danish. We see in him the kind of colonialism that the church has often represented in its missionary work.

Although we expect Lucas to be the one to lead lost souls to God, we see instead that Lucas is the one who is lost. He has lost sight not only of his mission, but of his faith and morality as well.

Photos courtesy of Janus Films.

This Year’s Oscar Nominated Live Action Shorts

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Short films can be good training for future filmmakers, or they can be an artform in themselves. Each year the Academy awards Oscars to three short films: Best Animated Short, Best Live Action Short, and Best Documentary Short. The nominees for these categories come from around the world and represent excellence, just as all the other films nominated for Oscars do. Each year, prior to the awards, there are programs of the short films that play in select theaters around the country. To see where you can catch one or more of these programs, check Shorts.tv.

Here is my take on the films nominated for Best Live Action Short Film this year.

Ala Kachuu (Take and Run). (38 minutes, Switzerland/Kyrgyzstan). Sezim, a 19 year old young woman, runs away from her small village in Kyrgyzstan to study in the city. There she is kidnapped off the street and taken to another village where she is forced into a marriage with her kidnapper. The villagers all seem to think this is the way things are supposed to be. Even her parents, when they find out, approve of this. Is she doomed to this life, or will she find an escape? The film, directed by Maria Brendle, reminds us that many women face this kind of marriage by kidnapping each year.

On My Mind, (18 minutes, Denmark). A somewhat disheveled man come into a bar. The curmudgeonly owner really doesn’t want to open, but the kindly bartender pours him a drink. The man sees the karaoke machine and asks for it to be turned on. He wants to sing a song for his wife. He HAS TO SING a song for his wife. Director Martin Strange-Hansen takes what seems like a bleak interaction in the bar turns into a story of tenderness and deep love.

Please Hold. (19 Minutes, USA). Director K. D. Dávila has created a Kafkaesque view of the justice system. When a young man is arrested by a drone, he finds himself in an automated and privatized jail. He doesn’t read the fine print on the terms and conditions for using the phone (who ever reads that stuff?) and ends up with no money to make any calls. His automated private defender wants him to take a plea bargain, but the guy doesn’t even know why he’s been arrested. Is there a way out?

The Dress. (30 minutes, Poland). Julia, a dwarf who works as a motel maid, yearns for love and sexuality. When she meets a truckdriver who seems interested in her, she begins to fantasize and fret over their next meeting. Director Tadeusz Łysiac takes the film through various shifts in Julia’s emotional state leading up to that meeting.

The Long Goodbye. (12 minutes, UK). As Riz and his family are preparing for a wedding celebration, their world is suddenly torn apart by the onset of a racist/nationalist group that takes them all into custody. Is it an official policy, or are the authorities just turning a blind eye to what is happening? With the rise in such nationalism and supremist movements in so many places, this film, directed by Aneil Karia, reminds us that our neighbors may often feel an insecurity because of their skin or culture.

My favorites among the group are On My Mind for the beautiful way the man expresses his love on what is one of the worst days of his life and the grace that he finds in doing so, and Please Hold, for its biting comedy.

Photos courtesy of Shorts.tv.

Wildland – Family Values?

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In Jeanette Nordahl’s Wildland, family is the most important thing in life. But is that good? Can a source of love also be a place in which one is broken down? Is the call of family worth giving up one’s sense of right and wrong? And what will we sacrifice to belong?

Following the death of her mother in a car accident, seventeen year old Ida (Sandra Guldberg Kampp) is sent to live with her aunt Bodil (Sidse Babett Knudsen) and three older male cousins.  Ida is welcomed but she really hasn’t met any of them for many years. Her mother and aunt were estranged from one another.

Although Bodil welcomes her warmly, her cousins are a bit standoffish. But soon they are taking Ida with them to clubs and when they go to work. It turns out the family are loan sharks. The cousins go to collect debts, and often use violence or the threat of violence in the process. On one such collection call, the violence gets out of hand and there is trouble brewing for the family. Will Ida turn her family in, or will she be willing to sacrifice herself for the family?

One of the interesting parts of the film is watching the family dynamics. We hear words of love and signs of affection, but they often seem to have just a small touch of unspoken threat. The violence that the cousins mete out is a part of the atmosphere at home. Ida for the most part stays in the background and observes. Is she soaking in the culture or trying to distance herself from it?

The film shows the power of the desire to belong and be loved. Ida is alone in the world, except for Bodil and her family. Bodil has learned how to manipulate her sons and is now working on Ida to prepare her for a place in the family. (There are also two other women, a wife and a girlfriend of the sons, plus a grandchild and an expected grandchild that will all be living in this environment.)

There are ways that this film harkens back to other crime families, such as the Corleone family in the Godfather films or the Cody family in Animal Kingdom (which also had a matriarch leader). As in those families, we see the bonds of family being manipulated and abused. Such films show how the concept of family and loyalty can be come corrupted and corrupting. A reminder that the basis of sin is often a virtue that is abused.

Wildland is in limited release and available on virtual cinema.

Photos courtesy of Film Movement.

Riders of Justice: Mads Gets Mad

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Set in Denmark, Riders of Justice follows Mathilde (Andrea Heick Gadeberg), who suffers an incredible loss when her mother is killed in a train crash. When her father, Markus (Mads Mikkelson) hears about the incident, he immediately returns home to be with his daughter. As they grieve together, they are surprised when Otto (Nikolaj Lie Kaas) arrives on their doorstep, claiming that he doesn’t believe the crash was an accident. Obsessed with details and the logistics of probability, Otto is certain that the event is tied directly to notorious street gang, the Riders of Justice. Teaming up with two other oddballs (Lars Brygmann and Nicolas Bro), Markus sets out to exact revenge on those who took his wife from him.

Written and directed by Anders Thomas Jensen, Riders of Justice genuinely surprises the viewer. Though the concept will draw comparisons to other masculine revenge films, Jensen adds philosophical undertones and humour to a film which could have simply become generic in execution. As a result, Riders becomes much more than just violent entertainment. It becomes an exploration of grief and emotional freedom. 

What is not surprising is Mikkelson. In every role he pursues, Mikkelson feels present and gives his all, even when the material is lacking. In Riders, he has some genuine material to work with, especially as the film moves on. Best known for playing characters with a dark edge, Mikkelson balances Markus’ rage with a dry humour that helps the character feel more fully realized. What’s more, Lie Kaa, Brygmann and Bro serve as excellent foils for Mikkelson’s more straight-laced approach, making for some genuinely funny banter along the way.

Broken by the loss of his wife, Markus is prepared to go on a murderous rampage to even the score. Though told by many that he needs to deal with his grief in a healthier way, he is simply consumed with rage. Convinced that her death was more than a coincidence, he sets out to get his revenge. To Markus, everything has to have an explanation and he’s willing to hold those who are responsible accountable for their actions. (This belief is reinforced by his conversations with Otto who argues that any event can be predicted with the proper data and mathematical information.)

Though Markus and his crew are determined to prove the reasons behind his wife’s death, questions begin to arise whether that can ever be truly known. For Markus, calculations and certainty make his grief palatable. To know there’s a reason is to believe that his trauma makes some form of sense. Cause means that there is someone to blame. However, as questions about coincidences arise, Markus must actually face his beliefs about whether or not ‘everything happens for a reason’.

It’s this conversation that sets Riders apart from so many other films. Unlike other franchises like John Wick, Taken or Nobody where men justify their loss down the barrel of a gun, Riders of Justice actually leans into the questions of Markus’ pain. (Interestingly, it’s worth noting Markus’ journey feels remarkably similar to the Biblical story of Job who, after losing his wife and children tragically, is left to grapple with the meaning of life. Beginning with a tragic loss, Ridersseems to mirror some of the key story elements of this famed tale, including the three advisors who challenge Markus’ coping process.) In Riders, the world doesn’t always make sense. Suffering exists but cannot always be explained.

In Riders, sometimes the questions are the answers.

As a result, Riders suggests that true justice doesn’t necessarily require retribution. This is not to say that there isn’t substantial action within the film, especially it’s explosive finale. However, it’s the conversations that take place between these moments that make Riders of Justice so unique. While he could have taken the far easier (and more popular) route of mere R-rated vengeance onscreen, Jensen adds some genuine moral complexity to its violence that elevates the material. While this may not satisfy those who are looking merely for a night of explosive action, it certainly makes Riders a much better film that’s worth watching.

Riders of Justice is available in theatres on Friday, May 21st, 2021.

The Good Traitor: Save Yourselves, Save the World

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The Good Traitor begins on April 9th, 1940 when Nazi Germany invaded Denmark with the expectation of immediate and unconditional surrender. As the government submits to Hitler’s demands, Denmark’s ambassador to the United States, Henrik Kauffman (Ulrich Thomsen) feels torn. Though he loves his home country, he remains concerned that he will be forced to live under Nazi regime. Nervous about his fate, he opts to declare the emabassy as independent of Denmark and sets wheels in motion that could potentially restore freedom to his homeland.

Directed and co-written by Christina Rosendahl, The Good Traitor is a fascinating story of self-protection, selfishness and, somehow, honour? In Kauffman, Rosendahl has much to explore as he both manipulates and sits in his own mistakes. As a political thriller, the pacing of the film feels like a slow burn but rarely drags its feet either. Choosing to emphasize Kauffman’s dealings in the United States, Rosendahl gives the film a unique style as the ramifications of the war feel immediate yet also seem distant at the same time. 

Featuring a solid cast, the film features some interesting performances across the board. However, the key trifecta of Thomsen, Denise Gough and Zoe Tapper anchor the piece overall. Caught between love, lust and overwhelming odds, the three actors work very well together onscreen. Thomson and Tapper have some genuine chemistry even if it never comes to fruition onscreen. At the same time, Thomson and Gough work very well together as a quasi-form of Macbeth and his Lady, struggling to connect at home but pulling the strings of those around them together.

The most interesting aspect of Traitor is the manner in which it blurs the lines between right and wrong. Unlike other war movies that highlight their heroes as men who see the situation in black and white, Kauffman’s portrayal features far more shades of grey. Fearing a return home under Nazi regime, Kauffman’s actions stem from his own self-interests. While claiming that his intentions are honourable publicly, he has as much to gain from his deals as he does to lose. (What’s more, his wandering eye serves as another example of his flawed moral character.) 

However, at the same time, Kauffman’s decisions absolutely leave an impact that helps change the world. Through his negotiations with the United States, he not only garners support for his home country but many other embassies as well, offering them financial assistance when they’ve been cut off during the war. As a result, despite the questionable nature of his motives, Kauffman somehow remains heroic within the history books. 

In this way though, Traitor also highlights the brokenness of those we hold in high regard. Due to their broken humanity, the character of our heroes is rarely as altruistic as we believe them to be. Like Kauffman, the men and women we look up to struggle with the same issues and flaws that we all do. However, even if we choose to view them through the lens of honour, that does not erase their faults. Like Kauffman, all of our heroes have cracks in their armour.

Filled with political intrigue, The Good Traitor is an engaging film that fleshes out the history books. While we usually associate the war effort with the soldiers on the field, Traitor shows the backroom dealings and negotiations that also helped bring victory for the Allies. At the same time, the film is also content to show the character flaws in its heroes in ways that somehow make it more relatable as well.

The Good Traitor is available on Tuesday, April 13th, 2021 on VOD.

A Few of International Feature Oscar Hopefuls

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Every country (except the U.S.) can submit one film for Oscar consideration for Best International Feature Film. How a country makes that choice varies. There are certain criteria, including how much English is allowed. The Academy has a process through which the films are reviewed eventually ending up with the five films nominated for the award. In early February the short list (this year it will include 15 films) will be announced.

I have had a chance to see some of the films submitted (either at festivals or through screeners), but still it is only about 1/6 of the list of films hoping for recognition. Here is a look at the ones I’ve seen, with links to our reviews if available.

Denmark: Another Round. Directed by Thomas Vinterberg. A group of friends test a hypothesis that keeping a constant 0.05% blood alcohol level is the key to happiness. Vinterberg is a masterful director and has made this a film of humor and pathos. Screenfish review of Another Round. Since it made my year end top films list, I would obviously be happy for this to get a nomination. (On the Shortlist of possible nominees.)

France: Two of Us tells the story of Nina (Barbara Sukowa) and Madeleine (Martine Chevallier), two retired women who have been romantically involved for decades. Though they spend their daily lives together, their relationship has remained largely in secret over that time, especially to Madeleine’s family. However, when Madeleine suddenly falls ill, their relationship is turned upside down and Nina must find a way to hide their secret while also caring for the woman that she loves. Directed by Fillipo Meneghetti, Two of Us is a powerful and heartbreaking piece that puts the wildness of love on full display. Well-written and earnestly performed, Two of Us is a simple film about what it means to care for someone so deeply that you’ll do anything to support them in their time of need. 

Hong Kong: Better Days. Directed by Derek Tsang. Chen Nian is trying to prepare for a college entrance exam. She and others face bullying at the school. After an encounter with Xiao Bei, a young street thug, the boy becomes Chen Nian’s protector. Can Chen Nian escape the violence around her, or will she become part of the violence? Well made film, but not as strong as some others. (On the Shortlist of possible nominees.)

India: Jallikattu. Directed by Lijo Jose Pellissery. When a buffalo escapes from the butcher, the whole village goes into action to try to recapture it before it destroys everything. As the day moves into night, the situation devolves to the point we aren’t sure if the animal is the real beast or the people. Interestingly, the film is bookended with title cards with verses from Revelation. (20: 1-3 at the beginning, 19:17-18 at the end). It’s a dark comedy with some very interesting camera and editing work.

Ivory Coast: Night of the Kings. Directed by Philippe Lacôte. Set in an African prison, a new prisoner is named by the convict boss as the new “Roman”, storyteller. On the night of the red moon, the Roman must tell a story that takes all night. There is a sort of Greek chorus that acts out parts of the story. Meanwhile, the boss is near death and a rival faction is hoping to seize power. It has a bit of magical realism. Interesting, but not compelling storytelling. (On the Shortlist of possible nominees.)

Japan: True Mothers. Directed by Naomi Kawase. Six years after a couple adopt a baby boy, they get a phone call from a woman claiming to be his birth mother and wants him back—or money. The film spends a great deal of time on each woman’s story before we get to the conflict and resolution. It may be a little overlong, but still a worthy story. Screenfish review of True Mothers.

Kazakhstan:The Crying Steppe. Directed by Marina Kunarova. The story of the Great Famine that was the result of Soviet policies during the 1920s and 1930s. Although there are some wonderful landscapes, the story is dismal. This is very much a Kazak story that evokes national pride and animosity toward the Soviet system. I would be very surprised to see this make it to the shortlist, let alone a nomination.

Latvia: Blizzard of Souls. Directed by Dzintars Dreiberge. The story of a young Latvian (Latvia was then part of the Russian Empire) who goes off to fight in World War I.  The innocence of youth gives way to the brutality of war. We see the terrible suffering and loss. It also runs through the early stages of Communist Revolution, and the eventual independence of Latvia. It is a very patriotic film. Screenfish review of Blizzard of Souls.

Mexico: I’m No Longer Here. Directed by Fernando Frías de la Parra. Ulises, the leader of Los Terkos , a cambia dance crew in Monterrey, Mexico, must flee to the US after witnessing a drive-by shooting. In Queens, he is lost. He doesn’t know the language. He has no connection to his culture. He’s befriended by a young Asian girl who lets him squat on her grandfather’s roof. His life had been completely centered in cambia, but now there is nothing to give him direction or purpose. To be so alone in New York City is just part of the sorrow we watch in this tragic tale. (On the Shortlist of possible nominees.)

North Macedonia: Willow. Directed by Milcho Manchevski. This is a trio of stories that focus on motherhood. All three stories focus on women who had trouble conceiving. The first, set in medieval times, is a peasant woman who goes to a crone for help. When, after the child comes, the couple isn’t willing to pay the high price, tragedy waits. The second couple (in modern times) finally conceive twins, but again tragedy will bring darkness into the marriage. The third story focuses on the sister of the woman in the second story, who adopted a child after years of trying to conceive. But there may be something wrong with the child. Very well done chance to think about love, motherhood, and striving for happiness.

Peru: Song Without a Name. Directed by Melina León. A young pregnant indigenous woman learns of a clinic in the city that will provide free maternity services. When she gives birth, however, they steal her baby for foreign adoption. In her grief she works with a journalist to seek the government’s help. The film has some wonderful scenes of the indigenous cultural arts. A very moving story of people who are treated as invisible and worthless by society. A very good film. Screenfish review of Song Without a Name.

Portugal: Vitalina Verela. Directed by Pedro Costa. A very measured, slow-moving film that has extraordinary s cinematography of light and shadow and the use of a static camera. A Cape Verdean woman whose husband left her 25 years earlier to work in Portugal, arrives in Lisbon to discover he was buried three days before. She learns bits of his life as she moves around the immigrant slum. The life they had in Cape Verde seems much preferable to what she finds here. A faithless priest reflects on the darkness of life here.

Romania: Collective. Directed by Alexander Nanau. Documentary about the aftermath of a fire at a Bucharest nightclub. Many of the victims died of infections they got in the hospital. Investigative journalist began to trace the governmental corruption. An amazing part of the film is that the new health minister gave the filmmaker total access. This is a film about the importance of the press to confront governmental lies. Very good doc. It would certainly be worth consideration in both this category and in the documentary category. Screenfish review of Collective. (On the Shortlist of possible nominees.)

Slovakia: The Auschwitz Report. Directed by Peter Bebjak. The story of two prisoners who seek to escape and bring information of what is going on to the outside world. The first half of the film takes place in the concentration camp, where following their escape, the other prisoners suffer increasing punishment. The second half is their journey to get across the border and report. But even then, their reports of the horrors are met with deep scepticism.

Spain: The Endless Trench. Directed by Jon Garaño, Aitor Arregi, and Jose Mari Goenaga. Based on true events, this is the story of a man who, with his wife’s help, hides in his house for over 30 years. During the Spanish Civil War, he escaped capture by the Nationalists and found his way home where he first hid in a hole under a cabinet, and later in a narrow room created by a false wall. Even after the war, through World War II and beyond, he is considered a war criminal until an amnesty is declared in 1969. The stresses of the confinement play out in their lives. They live in constant fear, even when it is time to come out of hiding. An excellently done film about the confines we often must deal with in our lives. It’s easy to extrapolate to the COVID-19 world.

Sudan: You Will Die at Twenty. Directed by Amjad Abu Alata. When a local holy man prophesizes that a child will die when he turns twenty, he begins with a sheltered life, but even after he begins to learn the Quran, his life is geared around his impending death. The entire village believes this is God’s will—except for a photographer who has recently returned from traveling the world. Can the boy find a way to live fully? Screenfish review of You Will Die at Twenty.

Switzerland: My Little Sister. Directed by Stéphanie Chuat and Véronica Reymond. A woman tries to give her actor twin brother one more time on stage before he dies. Her efforts could well cost her a very high price. The film is really about the bond that the siblings share. Screenfish review of My Little Sister.

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