When filmmaker Johannes returns from a lecture one evening, he finds the house in mourning and terror: his wife has killed their baby. A meditation on the limits of human law and the infinite possibilities of kindness and understanding, and a Protestant melodrama on the subject of grace.
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There’s an emotional flatness and sentimentality to the film that is unsurprising given the need for distancing coping mechanisms such an event must elicit. What is most challenging and intriguing about the film is its relationship to reality and implicit status as a tool for processing and positioning trauma. In this context, the very nature of the film is ambiguous.
Near the end of Sorrow and Joy (13), Malmros’s painfully intimate, emotionally forthcoming latest film, Signe, asks her husband, middle-aged filmmaker Johannes, why he’s never made a movie about “learning to love”…
[According to Olaf Möller, “Malmros] tries to look clearly to see what there is, humbly and without a trace of narcissism. Malmros considers his life useful for other people to see.” This is especially true of his most recent film, the extraordinary Sorrow and Joy (2013), which moves from shock to reflection upon how people might learn to treat one another.
A lot of sorrow. Some subdued joy.
Nils Malmros' autobiographical movie explores a troubled, trying, and tenuous relationship and the struggle recover from an almost unimaginable tragedy through commitment, compassion, and reluctant self-examination. It's sometimes baffling why this couple connected, and so why they fight to endure. The choice seems to be ... http://letterboxd.com/mharbour/film/sorrow-and-joy/
so the story is true and it's a tough story but that's about the only thing in this film. The characters are stiff, they lack life, like the rest of the images. the film has no lungs, there is no air in it. it's as if all creativity was choked by director's feelings. everything is too close, too direct. i felt nothing. it also ruined my pleasure of seeing the beautiful "Kundskabens træ".