De film en film, avec une bienheureuse obstination et une rare opiniâtreté, embrasée d'un étonnant style cinématographique (une lumineuse proximité de gros plans évidents et l'antienne bienvenue d'une caméra- ballet tourbillonnante) Susanne Bier nous délivre une oeuvre hautement personnelle, toujours étonnante, désormais essentielle... www.cinefiches.com
Overly schematic and reductive; and yes, of course, Bier's fondness for scenes of damaged white saviors receiving the adoration of the Third World poor is uneasy-making at best, but I can't deny that I kind of liked all the extreme eyeballery, nor that I did a lot of crying. I may even have had a mild catharsis in there. But that Sigur Ros album, (), which I hadn't heard in years, might've brought that on by itself.
Good script, but why such melodramathic scenes? I like Jorgen's character though. At the first sight, you think he s just an arrogant human being, but as you watch, you realize that he s man who is willing to do everything for his family. Its a good movie, but i think the director did overweight a lot in drama. 3.5/5
La Bier mette in scena un film bellissimo, in cui durante tutta la prima ora costruisce un intrico di relazioni che, pian piano, va a districarsi nell'ora successiva. Cosa può comprare il denaro? Tutto, perfino gli ideali, i valori e soprattutto il passato e il futuro di un uomo che, in nome del presente e degli affetti ritrovati è capace di mettere in dubbio tutto quello in cui crede. Mads è un grande.
Why would a millionaire craft a careful plan to sabotage his family and help the guy whom he should envy the most? The film began itself by posing such a puzzling question then spending its latter half to explain it. The answer may be predictable, but it makes you care, and that is important.