#danish cinema

[texaschainsawmascara]

Mads Mikkelsen, Retfærdighedens Ryttere (2020)

[habitual-sadness]

Falling Water, Keld Helmer-Petersen, 1971

[scandinaviancinema]

BASTARDEN / THE PROMISED LAND (2023) dir. Nikolaj Arcel

[folditdouble]

Women in Film Challenge 2024: [39/52] Margrete: Queen of the North, dir. Charlotte Sieling (Denmark/Sweden/Norway/Iceland/Czech Republic/Poland, 2021)

You weren’t strong enough. I was much too strong.

[russell-crowe]

en forelskelse (2008)

[celluloidrainbow]

NATTEN HAR ØJNE (2022) dir. Gabriel Bier Gislason Maja, a has-been actress in Denmark, who falls in love with Leah, a young, Jewish academic visiting from the UK. When Leah suffers a mysterious seizure, Maja fears their whirlwind romance might be cut short and decides to follow Leah back to her home in London. There, Maja meets her new downstairs neighbour: Leah’s mother, Chana. An overbearing and highly secretive woman, Chana seems resistant to all of Maja’s attempts to win her over. And as Maja notices strange occurrences in the building, she begins to suspect that Chana’s secrets could be much darker and necessary than first anticipated. (link in title)

[penelope-all-that-mads]

"I kind of go where the most interesting project is, but it’s become more and more important to me to do Danish or European films because it’s my home, my stories, my language, and, working with friends, I can go further than with people I don’t know".

Mads' interview on The Playlist

[victusinveritas]

An image from the 1917 silent Danish film PEACE ON EARTH (released in Denmark as “Pax Aeterna”).

[picturessnatcher]

Af elskovs naade (August Blom, 1914)

[variousqueerthings]

im watching a danish 1918 silent film called "himmelskibet" (the sky ship/spaceship) and it's interesting from several perspectives

for one, i enjoy the idea that these people have the notion of going to space and build a spaceship (an incredibly charming spaceship) in 2 years and it works! lifts ve-e-e-e-r-y slowly out of the atmosphere over the course of several days

for two, they're going to mars. which in 1918 reads differently im sure, than in 2024 and the rich colonialism wet dream -- also because in this movie mars is in fact populated, so it's actually not colonialist in the way it might have been x amount of years later in space-exploration cinema and the martians are depicted as being far more civilised (and also more... back-to-the-earth, we'll get to all of That) than earthlings, which is interesting

for three, they build the spaceship and point it towards mars, but don't have the tools to gauge how long it'll take to actually get there -- they calculate a presumed date before they leave, but whilst on the spaceship just have no idea where they are? this isn't deep, it's just funny to me

point the fourth. mars is populated. it's populated by a bunch of very human-looking aliens, because it's 1918 and the only difference between us and aliens is that the aliens are fruitarian hippies who all wear long robes (yeah, i can buy that) who have overcome everything bad that humanity currently is. the message is a hopeful one, with the lead martian saying "what we are, you will become"

the martian society is presented as a utopia. they're fruitarians, they've got no crime, no violence, and in what feels like some of the most long-lasting of political ideas, when the astronauts bring violence with them, they are made to think about it, but not punished (and there's some christian repent vibes to it, but it's not too egregious as to not work as concept -- the movie as a whole is very christian in feel though) and the protagonist considers how evil it is to throw people into prisons on earth. there's also a whole thing about embracing/celebrating death, rather than fearing it, which i wanna roll around in my head for a bit

but... the film tries very hard to juxtapose this utopian ideal with earth, however can't figure out how to make that work in imagery, or even put its finger on what is actually wrong with earth society that violence abounds in the first place (you'd think there might be some wwi imagery in there, but no, not a one -- its way of "showing violence" is random young well-dressed people on the street assaulting an elderly man and laughing, or smoking and dancing, or implied sex before marriage...)

all the scientists/leaders on mars are men, while the women... idk, frolic in beautiful dresses (there are a couple of interesting women in this, but they're not The Thinkers, they're The Feelers). they're all white and christian (if, danish christians rather than american christians). they're all thin and able-bodied and "beautiful." there's a scene where the women dance "a chastity dance." it begs the eternal question of "wait is this actually portraying a white supremacist eugenics cult?" WHICH is not what the movie wants to say, it very much wants to say something about anti-violence idealism as the future for humanity, it's like. got its heart in the right place, even if the final messaging is "we take this woman from a higher culture and within her lie the seeds for a superior earth," which hmm.. yeah. ive. ive heard things like that said before. not about a martian

it's interesting what kind of shorthand we have for storytelling. how the people making this movie undoubtedly were trying to think of the most visually effective way of conveying utopia, and how that imagery is mainly used today to make a viewer go "uh oh" to the extent that i almost briefly wondered if there was going to be another shoe about to drop, even though the movie hadn't been going in that direction at all

very much enjoyed it on the whole though. a moment in time. a very very early scifi film. ye olde danish text

And the most important thing.

Behold A Spaceship:

[filmografie]

Anna (2009), dir. Rúnar Rúnarsson

[lairreparablefugadeltiempo]

De fire djævle (Alexander Christian, Robert Dinesen, Alfred Lind, Carl Rosenbaum, 1911)

[petitemaman2021]

Godland (2022), directed by Hlynur Pálmason

Cinematography by Maria von Hausswolff

[folditdouble]

Women in Film Challenge 2024: [81/52] Queen of Hearts, dir. May el-Toukhy (Denmark/Sweden, 2019)

You think I'm a monster.

[arrayed-in-purple]

𝐖𝐡𝐞𝐧 𝐀𝐧𝐢𝐦𝐚𝐥𝐬 𝐃𝐫𝐞𝐚𝐦 (𝟐𝟎𝟏𝟒)

𝐃𝐢𝐫𝐞𝐜𝐭𝐨𝐫: 𝐉𝐨𝐧𝐚𝐬 𝐀𝐥𝐞𝐱𝐚𝐧𝐝𝐞𝐫 𝐀𝐫𝐧𝐛𝐲

(OC)