There’s a lot of very intense thematic material in this Danish domestic drama (what the BBFC title card judiciously warns us are “bereavement themes”). It swiftly sets up the work life of Andreas (Nikolaj Coster-Waldau) as a cop, contrasting one of his cases — a thuggish heroin junkie who’s just relocated to his neighbourhood and has a maltreated baby and girlfriend in tow — with his almost-perfect home life alongside wife Anne (Maria Bonneville) and their tiny baby Alexander. Then horrible things happen, bad decisions are made, and tragic consequences are reaped, and well… it’s just not convincing, not the characters, and certainly not the choices they make. Andreas’s police partner Simon (Ulrich Thomsen) has his own generic and perfunctory character development, and comes in at the end to clear things up all too neatly. Sure, there are lots of lingering close-ups of furrowed eyes and harrowing music on the soundtrack to guide our feelings, so I could at least say there are some believable emotional arcs being expressed. It’s just that as a viewer I don’t feel any engagement or sympathy with Andreas or his wife or his partner, while the working of the plot suggests a madcap screwball comedy, not the stark grief-filled drama Susanne Bier and her screenwriter Anders Jensen have crafted. The contrast of Andreas’s life with that of the criminal family, along with a tacked-on coda, have the effect of pat moralising, and when the credits come up there’s a feeling you’ve been watching a TV social-issue-of-the-week movie. If you are a parent, it may be more emotionally engaging, but then again I can’t imagine a parent wanting to watch this film either, given the events it depicts.
Director Susanne Bier; Writer Anders Thomas Jensen; Cinematographer Michael Snyman; Starring Nikolaj Coster-Waldau, Maria Bonnevie, Ulrich Thomsen; Length 105 minutes.
Seen at Hackney Picturehouse, London, Tuesday 24 March 2015.