lars von trier belki de "yahudilere karşı değilim, susanne bier'e bile" derken pek haklıydı. yarısında çıktım türü filmlerden. sahiden de 50. dakikaya kadar dayanabildiğimi söyleyebilirim. doksanlı yıllarda arzum onan'lı kerem alışık'lı filmler gibi.
The drama sauce is ok, but film trying to be more than one film. What shall we focus on? Father-son relationship, murder for self-defense is acceptable or not, being loyal to your death husband, father-girl relationship! Change of a man who was guilty before. Details are missed. His beard does not grow, girls attitude changed so fast to their father and we could not catch how fast brothers go through a metamorphosis
Filmi başından sonuna kadar bir Danimarkalı askerin Afganistan'da ne işi var diyerek izleyiniz. Zira Michael Afganistan'da milisleri değil, Batılı steril birini öldürmüştür. Bunun altında ezilir; çünkü meşrulaştıramaz durumu. Afgan bir milis ölseydi meşrulaştırılabileceği ölüm, ona ağır gelir ve adaptasyon sürecini aşamaz. Bu bağlamda yönetmen çok eleştirilse de, esasında çok büyük bir mesaja vesile oluyor.
as it does not contain anything about the real situations happaned in afghanistan , ıraq, at the same time it doesnt have anti war statement too. there is a scenario was built on a stereotyped western mentality. bad afghans , terrorist afghans , evil afghans ...good white honest, honorable westerners ... a masked fascist film appealing to western ignorant audiences who brainwashed by censored media. Waste of time.
A strong script from director Bier and Anders Thomas Jensen is brought to vivid life by a trio of fine lead performances from Connie Nielsen, Nikolaj Lie Kaas and Ulrich Thomsen. The story of a husband believed dead, on a peacekeeping mission, who returns with suspicions of an infidelity between his wife and brother that hides his own guilt of an atrocity he was forced to perform. A performance film of fine quality.
Wondered what, beyond translation, could make a remake more 'Hollywood'. Already so glossy that any empathy it elicited simply slid right off... My part as viewer, too, was as explicitly scripted; I had only to feel what it told me to, each scene. Granted, framing war not as glorious but only morally ambiguous verges on (gasp!) politics, but not so radically as to feel 'foreign'. Maybe the vignetting was too arty?
Una buena historia sostenida por la sobervia actuación de la hermosa Connie Nielsen. Los secretos destruyen familias y los traumas de guerra machacaran los ultimos resquicios del corazon sin salvarse la propia sangre. película que gana a pulso su clasificacion de independiente, muy recomendable.
It's hard to develop any kind of sympathy for military personnel once you realize that every major conflict after the WWII is due to support BIG company issues. That aside, this movie deserves a lot of compliments. With human-centered scenes it depicts two disturbing situations at a frighteningly close psychological approach: a severe family crisis after a war mission and a raw composition of a hostage situation.
This is a very, very good film. Multi-layered depth of understanding of multiple complexities provides fertile ground for a well-crafted and superbly acted script. Great direction and editing, surprising plot progressions and some very subtle aesthetic flourishes into the bargain. Several opportunities for all the pieces to fall apart into jumble and nonsense...instead, everything hangs together nearly perfectly.
Not quite as moving 'Open Hearts', but once again it's the quality of pulling the viewer in and drowning them in emotions of reality that really stands out. Really enjoyed seeing some recurring faces, especially Nikolaj Lie Kass and Ulrich Thomsen. The slightly confused ending ruined the experience a little, but it's a great piece and I will no doubt go back to it over and over in the future.
Subtle yet powerful film, which seamlessly interweaves narratives of sibling rivalry and the consequences of war through the lives of two brothers, to show how one pivotal moment can dramatically alter the course of one's life. The acting is equally understated, which allows the viewer time time to reflect, which is heightened by the blackened screen edge that makes it literally less clear, inviting a closer look.