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Ridiculous disbelief is painted across co-star Mille Dinesen's face on this poster for Peter Molde-Amelung's Jagtsæson 2 - I Medgang og Modgang
Eva is feeling like a failure due to being a divorced mother, who has just been rejected at a much hoped-for job interview, when she learns that planning her friend Bella's bachelor party might put her back on track for the job.
Jagtsæson 2 - I Medgang og Modgang is written by Claudia Boderke and Lars Mering(Far til Fire på Toppen (2017), both) and directed by Peter Molde-Amelung (Jomfruer fra Rummet (2023)). It is the sequel to Tilde Harkamp's Jagtsæson (2019). The original Danish title translates to, 'hunting season 2 - in good times and bad'.
There are elements that need to be overlooked in the plot here throughout: Why does Eva fail to get any job? What is her line of work? Why is this organically/woke-obsessed company job so desirable for her? And, as a side issue, why is she so poorly dressed in every scene in the film? Later other questions may pop up, but for the sake of trying to enjoy the comedy, you should try to ignore these speculations.
The star trio, Mille Dinesen (Swinger (2016)), Lærke Winther (Mødregruppen (2019)) and Stephania Potalivo (Løbeklubben (2018, miniseries)) are back, and they constitute the major reason to check into this low-flying, rackety follow-up. Jagtsæson 2 - I Medgang og Modganghas neither a script nor a direction worthy of much praise, so one must hope for a better situation in the sure-to-come next sequel of the popular movies.
Watch a trailer for the film here
Cost: Unknown, projected 24 mil. DKK, approximately 3.5 mil. $
Box office: 2.75 mil. $ and counting
= Uncertain
[Jagtsæson 2 - I Medgang og Modgang was released 21 March (Denmark) and runs 90 minutes. Shooting took place in Funen, Denmark. The film has spent its first 2 weeks at #1 in Danish cinemas, selling 157k tickets so far, coming to approximately 2.75 mil. $. There are no other release markets planned. Molde-Amelung does not have his next gig announced yet. Dinesen returns in Maybe Baby 2/Bytte Bytte Baby 2 (2024, VoD); Potalivo does not have her return announced yet; and Winther returns in Vækst Über Alles (2024, short) and in NamaStay (TV-series) but also does not have her theatrical return announced yet. 56 IMDb users have given Jagtsæson 2 - I Medgang og Modgang a 4.7/10 average rating.]
What do you think of Jagtsæson 2 - I Medgang og Modgang?
A fantastical illustration of space exploration from a perspective decades before it was actually made possible makes up this striking poster for Holger-Madsen's A Trip to Mars
A flying pioneer gets tasked with traveling to Mars, and soon he has the airship ready for the journey, which charters upon a foreign civilization.
A Trip to Mars is written by Ole Olsen and Sophus Michaëlis (Pax Æterna (1917), both) and directed by Holger-Madsen (During the Plague/Mens Pesten Raser (1913)). It is an adaptation of Michaëlis' same-titled novel. The original Danish title translates to 'the sky ship'.
A fascinating and demanding film to watch today, A Trip to Mars has inordinate amounts of text intertitles but it wins on its imaginative and often risible plot and hyper-mannered acting performances. A Trip to Mars really is incredibly funny, though if seen without an accompanying score it may seem a bit dry.
There is no perceivable dichotomy between science and religion here in one of the first major sci-fi films ever made, and possibly the world's first outright space opera, though of course the film is also not exactly scientific. Nevertheless, A Trip to Mars is a fascinating, impressively expansive pioneers' accomplishment in cinema.
Watch a trailer for the film here
Cost: Unknown
Box office: Unknown
= Uncertain
[A Trip to Mars was released 22 February (Denmark) and runs 81 minutes. The film was commissioned by Nordisk Film CEO Olsen , who intended it as a pacifist adventure that should move audiences towards peace in the ongoing World War I. Shooting took place in Denmark. Details about the film's budget, production and release are regrettably scarce, yet it seems that it traveled the world following its 1918 debut. The film has been restored by the Danish Film Institute and is in public domain, so it can be seen free and legally with English subtitles right here. Holger-Madsen returned with Lydia (1918). Gunnar Tolnæs (Lille Dorrit (1924)) returned in Folkets Ven (1918); Lilly Jacobsen (Mod Lyset (1919)) in Testamentets Hemmelighed (1918). 777 IMDb users have given A Trip to Mars a 6.4/10 average rating.]
'Forgotten, alone and more than 37 km away from home' reads the funny tagline on this poster for Nikolaj Steen's Oldboys
A Danish old-boys soccer team on their way to play a Swedish policemen team forget their goalkeeper Vagn at a gas station. He soon bands up with a Danish robber he happens upon, and together they head towards the match.
Oldboys is written and directed by debuting Nikolaj Steen (Minkavlerne (2019, TV-series)).
The script is full of weak points, (concerning a concussion, the 'forgetting Vagn' scene, igniting a car's engine etc..) Still I laughed copiously; the old men or boys and their coach (Rasmus Bjerg (Player (2013))) are fun, and Kristian Halken (Miss Viborg (2022)) is formidable as Vagn. Oldboys is formulaic and flawed but a lot of fun and with a lot of beneficial heart to it.
Watch a short clip from the film here
Cost: Uncertain; projected 5 mil. DKK or approximately 0.64 mil. $
Box office: Approximately 0.6 mil. $
= Huge flop (projected return of 0.93 times its cost)
[Oldboys was released 20 November (Denmark) and runs 95 minutes. It was supported with 3 mil. DKK by the Danish Film Institute. If made on a very slim 5 mil. DKK budget, the film would rank as a huge flop: It sold 56,820 tickets in its sole release country (Denmark) at a 83 DKK average prize at the time, coming to approximately 4.7 mil. DKK or 0.6 mil. $. The film won 2/7 Robert award nominations (Denmark's Oscar), among other honors. Steen has kept out of cinemas since, instead directing for TV. Halken returned in 4 short, TV and a voice credit prior to his theatrical return in A Funny Man/Dirch (2011); Robert Hansen (Vildbassen (1994)) in Bølle Bob - Alle Tiders Helt (2010). 1.3k+ IMDb users have given Oldboys a 6.6/10 average rating.]
A beautiful romantic still on a Copenhagen rooftop with natural backlight is doubled on this poster for Michael Noer's Key House Mirror
Lily has moved into a nursing home with her husband of more than 50 years, who has turned into an immobile vegetable. But she doesn't require care, and her continued zest for life leads her to a new romantic acquaintance.
Key House Mirror is written by Anders Frithiof August (A Fortunate Man/Lykke-Per (2018)) and great Danish filmmaker, co-writer/director Michael Noer (R/R: Hit First, Hit Hardest (2010)). The title is a literal translation of the original Danish title.
The film takes a tit for tat approach to the third age, which makes it hard to enjoy, as the nursing home as life's last stop-over looks like an individual-suffocating death prison of human disintegration.
Ghita Nørby (Den Stundesløse (1973, TV movie)) lifts the film considerably and is outstanding, impressively bereft of vanity and fully credible in a generous, very commendable performance. Sven Wollter (A Song for Martin/En Sång för Martin (2001)) is warm as her Swedish nursing home boyfriend, but Key House Mirror lacks something unexpected: The plot moves forward in a way that is too predictable, and the scenes with Trine Pallesen's (Tempelriddernes Skat II (2007)) daughter character and her family are a drag in their cold predictability. Key House Mirror may be called a grim watch, as it acknowledges that mostly everything is ugly and horrible.
Watch a behind-the-scenes clip from the making of the film
Cost: Unknown
Box office: In excess of 1.09 mil. $
= Uncertain but likely a mega-flop (projected return of 0.42 times its cost)
[Key House Mirror premiered 23 January (Göteborg Film Festival) and runs 91 minutes. The film sold 94,423 tickets in Denmark, at an average 87 DKK ticket prize coming to approximately 1.09 mil. $. The film was also released in Germany, Sweden and France, but with unreported (likely small) gross numbers. If made on a realistic 3.5 mil. $ budget and with a 1.5 mil. $ final gross, the film would rank as a mega-flop. The film was nominated for 4 Robert awards (Denmark's Oscar), among other honors. Noer returned with Papillon (2017). Nørby returned in Dagny (2016, short), Lux Aeterna (2017, short) and theatrically in Before the Frost/Før Frosten (2018); Wollter in Odd & Maud (2016, short) and theatrically in Solsidan (2017). 508 IMDb users have given Key House Mirror a 6.9/10 average rating.]
A uniformed young woman caught in a sea of bright dilemmas (or so it appears) on this poster for Peter Schrøder's Kun en Pige
The childhood and early adult life of Danish cultural icon Lise Nørgaard as the daughter of a wholesaler in province town Roskilde is laid out: Her passion for writing and being free to make her own decisions, her rebellion against the time and the consequences it had for her.
Kun en Pige is written by Peter Bay (Kaj's Fødselsdag (1990)) and Jørgen Kastrup (Vi Er Både Rigtige og Kloge (1975)), adapting Lise Nørgaard's (Stjernevej (1981)) same-titled 1992 autobiography and her follow-up De Sendte en Dame (1993), and directed by Peter Schrøder (Det Forsømte Forår (1993)). The Danish title translates to, 'just a girl'.
For a Danish film, Kun en Pige is an enormous production, - think The Godfather (1972) and Once Upon a Time in America (1984), - but Nørgaard's story has trouble supporting that weight. The film is incredibly long and first and foremost of local-national interest. Furthermore there are loose ends to the plot (the polyps; the chilling dream of Germany), but Kun en Pige is nevertheless a worthwhile picture.
Periods of it recall Nørgaard's Roskilde chronicle, Danish cultural cornerstone Matador (1978-82), (which may tire some Matador fans), but it is handsomely and cinematically done; the crew deserve acknowledgment for the skilled lighting and many fine images, (cinematography by Dirk Brüel (Flugten (1973)).)
Waage Sandøe (Krøniken (2004-07)), Kristian Halken (Speed Walking/Kapgang (2014)), Amalie Dollerup (Badehotellet (2013-)), Inge Sofie Skovbo (Sunes Familie (1997)) and Puk Sharbau (Terribly Happy/Frygtelig Lykkelig (2008)) all give good performances. The protagonist's persistent bouts of rage and her angry contrariness may wear on one's patience, but the film still has a lot of good to offer.
[Kun en Pige was released 15 December (Denmark) and runs 170 minutes. The budget was reportedly the biggest ever for a Danish film at the time. Shooting took place in Denmark. It sold impressive 456,718 tickets in Denmark, the film's only recorded release market, where it was the highest-grossing film of the year, which was nevertheless far from enough to recoup the big cost of production. (The average ticket prize in Denmark was 41 DKK in 1995.) The film won 4/4 Robert nominations (Denmark's Oscar). Schrøder returned with Nikolaj og Julie (2003, TV-series) and theatrically with Lotto (2006). Scharbau returned in Bryggeren (1997, TV-series) and theatrically in Afmagt (1998). 387 IMDb users have given Kun en Pige a 6.4/10 average rating.]
The faces of the two new star police partners hover above an incinerating person on a hospital bed on this dark poster for Martin Zandvliet's Marco Effekten
Following a shortened down period Danish veteran police investigator Carl Mørch comes back to work. With his investigator partner Assad he follows clues from an unaccompanied minor gypsy boy in custody, which leads to a suspicious pedophile case and development aid in Africa, which has to be revisited.
Marco Effekten is written by Anders Frithiof August (Camping (2009)) and Thomas Porsager (Sjit Happens (2013-16)), adapting the same-titled 2012 novel by Jussi Adler-Olsen (Alfabethuset (1997)) from his Department Q/Afdeling Q crime novel series, and directed by Martin Zandvliet (Applaus/Applause (2009)). The Danish title translates to 'the Marco effect'.
This reboot of the Department Q movie series, with the rights having changed hands from Zentropa to Nordisk Film, attempts what is a very difficult task: Tossing an established and (locally in Denmark) spectacularly popular universe up in the air, just to try to put it all back together successfully again with an entirely new cast.
The new film doesn't feel like a continuation or a match-for-match of the beats that made up the 4 hit Zentropa films. Zandvliet goes for another tone and look, and Ulrich Thomsen (Allegro (2005)) is a different Mørch; less abrasive, more ... Thomsen. The actoris fascinating to look at with his seen-it-all stoic features, but we don't get deep or see development in his character. Even less so for the new Rosa, and not much character background for Assad, either, although Zaki Youssef (Rita (2015, TV-series)) seems solid for the part.
The restrictive script approach, - perhaps out of excessive loyalty or closeness to the protective author Adler-Olsen, who was instrumental in taking the rights from Zentropa for another take on his novels, - is coupled with a restrictive visual concept: The big almost stock shots of the police headquarter from above, other 'flashy' location shots, - but also shots that define character-setting locales such as Mørch's residence, - are scrapped in Marco Effekten. The result is that the film's first hour or so mostly consists of one or more characters in a (mostly dimly lit) room, mostly in a discussion or interview. With the humor, sex appeal, popular star (Nikolaj Lie Kaas) and action gone for the film's first hour, it predictably loses many of the fans' support that the filmmakers were hoping for.
The plot, as indicated, is a complicated mess which is never fully illuminated. SPOILER A gypsy boy (the title's Marco) caught up in a murderous debacle about a falsely accused man, later killed, who was alerted to some big money scandal involving development aid and pedophilia in Africa. The particulars as to the meaning of the title is also never defined. It is all in the shadows. This nevertheless works pretty well, because this limited level of knowledge must be presumed to be what Mørch and Assad also can gather at the time of the case, and we can put the bricks together well enough ourselves. Anders Matthesen (Rene Hjerter (2006)) and Caspar Phillipson (Mission: Impossible - Fallout (2018)) as the film's main villains are also good and clear enough as antagonists.
Marco Effekten fails to reinvigorate the franchise in a way that its fans will appreciate, and so may likely instead put it is in its grave, but it is a good time as a solid, well-made, somewhat misanthropic thriller.
Box office: Approximately 11.7 mil. DKK and counting, approximately 1.91 mil. $
= Uncertain - but looking to become a mega-flop, expecting a final gross of around 25 mil DKK/4.09 mil. $
[Marco Effekten was released 27 May (Denmark) and runs 125 minutes. Shooting took place in Denmark and the Czech Republic, including Prague, and was interrupted by the China Virus pandemic. The film has sold 117,736 tickets in just under two weeks release in Denmark, much lower than the previous Department Q entries opened to. The film is set to release in Iceland and Russia on June 16 and 17, respectively. Zandvliet is announced to return as director of US space drama Challenger. Thomsen returns in Ire (2021); Youssef in Wild Men/Vildmænd (2021). 307 IMDb users have given Marco Effekten a 5.2/10 average rating.]
Snaps from the film behind a strong, unclothed, Haitian man holding a rifle make up this dark poster for Asger Leth and Milos Loncarevic's Ghosts of Cité Soleil
In the slums of Haiti, the leaders are the local 'Chimeres'; gangster-rapping, gun-toting men whom the poor country's president at times hires for security. Two brothers that are such leaders now come at odds with each other and with the people...
Ghosts of Cité Soleil is written by writer/co-director/co-photographer Asger Leth (Move On (2012)), who co-directed it with Milos Loncarevic.
It is an incredible documentary. The slums of Haiti seem as alien to a privileged Scandinavian like me as would a foreign planet, and the to some degree self-created hell that the country is in is despairing. The work that Leth and Co. have done here is staggering; practically because the shoot has obviously taken place under significant personal risk, and narratively because the documentary deals with two protagonists (and one French assistant nurse, who risks her life to live and assist in an area of great deprivation) who don't deserve our sympathy: They are godless, gun-crazed murderers, who stand in the way of their country's improvement, essentially uneducated hoodlums. - But Leth, Locarevic and Co. still manage to capture them in such various situations that their humanity still unmistakably peaks through. - Still without the film coming across as apologetic for it.
Ghosts of Cité Soleil is wildly courageous, eminent documentary filmmaking.
Watch a 2-minute clip from the film here
Cost: Unknown
Box office: 218k $
= Uncertain
[Ghosts of Cité Soleil premiered 1 September (Telluride Film Festival, Colorado) and runs 86 minutes. Shooting took place in Haiti during a time of civil war. 2Pac, the rapping of the two brothers in the film, was shot and killed three weeks after the filmmakers left Haiti. The film opened #57 to a 7k $ first weekend in 1 cinema in North America, where it widened to 3 theaters but didn't attain a higher rank, grossing 48k $ (22 % of the total gross). The other two recorded markets were Leth's native Denmark with 125k $ (57.3 %) and the UK with 44k $ (20.2 %). Leth returned with Man on a Ledge (2012); Loncarevic has not returned with a credit in film or TV. Ghosts of Cité Soleil is certified fresh at 78 % with a 6.50/10 critical average at Rotten Tomatoes.]
'Sometimes you've gotta go far to find your way home' reads the tagline on this poster for Erik Clausen's Mennesker Bliver Spist
Herluf is an auto mechanic with a wife who is no longer very impressed with him. Now he is beginning to suffer from dementia, but no one really notices it, which leads him on an unplanned journey.
Mennesker Bliver Spist is written by Louise Clausen (Aldrig Mere i Morgen (2017)) and great Danish co-writer/director/co-star Erik Clausen (Cirkus Casablanca (1981)). The title translates to 'people get eaten'.
Clausen's films are especially for Danes. But you don't have to subscribe to every societal opinions of his in order to enjoy Mennesker Bliver Spist, which is his best film in years and maybe the year's best Danish film. (Just as a matter of form, some of those opinions of his include; being a national-conservative is a life-crisis; modern man is selfish and without a sense of propriety; Danes are extremely concerned with possessions and forget the value of human care; and finally, that women are tough on their men.)
Clausen himself is deeply moving and convincing as Herluf. The story, which involves the increasingly blank man going to Poland by mistake, is outstanding and inventive, and it contains a long list of good performances: Bodil Jørgensen (Badehotellet (2013-20)) is matchless as the wife who has frozen herself into an iceberg in their marriage and has begun cheating; Nicolas Bro (Sorrow and Joy/Sorg og Glæde (2013)), Charlotte Fich (Drabet (2005)), Lærke Winther (Mille (2009, TV-series)), Rasmus Botoft (Danish Dynamite (2012, TV-series)), Leif Sylvester (Hodja fra Pjort (1985)) - all are great. Unknown amateur actors also light up scenes; a son, the shop master in Poland and a lady there, Herluf's car-interested old buddy among them, - the cast is terrific.
The title comes from John Mogensen's song Mennesker Bliver Spist i Polynesien (1975), used to great effect in the film. Clausen also pokes fun at modern missing persons searches here, and he generally keeps the film in an often moving farce style. Whatever you'll hold against Mennesker Bliver Spist, you'll easily forgive due to its warm-hearted, funny and edifying qualities.
Watch a clip from the film here of Herluf being forgetful while on a stage
Cost: Reportedly 17.5 mil. $, approximately 2.78 mil. $
Box office: 2.6 mil. $
= Huge flop (returned 0.93 times its cost)
[Mennesker Bliver Spist was released 26 February (Denmark) and runs 104 minutes. Shooting took place from February - April 2014 in Denmark and Poland. It spent its first two weekends at #1 in Danish cinemas, where it sold 235,547 tickets, a decent haul in the small country. Its only foreign market was Brazil, which doesn't have a listed gross. The film was nominated for 3 Robert awards, Denmark's Oscar. Clausen returned with Aldrig Mere i Morgen (2017). As an actor he returned in Sverige Er Fantastisk (2015); Jørgensen with a voice performance in Albert (2015) and a physical performance in Parents/Forældre (2016). 457 IMDb users have given Mennesker Bliver Spist a 6.6/10 average rating.]
Two distinct layers of society, members of the lower class and of the higher creative class, meet on this fun-promising poster for Tomas Villum Jensen's Clash of Egos
Tonny, a modern caveman recently released after serving a stint in prison for violence, works at a garbage station and has just lost visitation rights to see his children, when he snaps over an awful local art film that he has recently bought tickets for.
Clash of Egos is written by Anders Thomas Jensen (The Salvation (2014)) and directed by Tomas Villum Jensen (Love at First Hiccough/Kærlighed ved Første Hik (1999)). The Danish title translates to 'highly charged bomb'. Both Ulrich Thomsen (Hitman (2007)) as Tonny and Nikolaj Lie Kaas (Max (2000)) as the art film's director Claus Volter are excellent and play their opposed characters with real panache. The central idea of a primitive brute meeting a pretentious art film snoot is funny and original, and the film has lots of funny moments. Clash of Egos could have been even better, if the production hadn't looked like rubbish; if Volter's ridiculous art film had been presented sharper; and if the writing had been a little smarter here and there. But these minor complaints don't rob the film of its considerable laughs and primed stars.
Watch a clip from the beginning of the film here, where Tonny has made the mistake of taking his kids to see an inappropriate art film in the cinema
Cost: Unknown Box office: Uncertain - likely in excess of 2.82 mil. $ = Uncertain - but likely a huge flop [Sprængfarlig Bombe was released 25 August (Denmark) and runs 90 minutes. Shooting took place in Denmark, including Copenhagen. The film sold 272,140 tickets in production country Denmark, making it a solid hit locally in the small Danish market. It was shown at 4 minor film festivals and released in 2 foreign markets subsequently, likely with negligible grosses. If made on a realistic 20 mil. DKK budget, approximately 2.95 mil. $, the film should likely rank as a huge flop theatrically. It was nominated for a Robert award (Denmark's Oscar). Jensen returned with Ved Verdens Ende (2009). Thomsen returned in Der Liebeswunsch (2006); Kaas in Pu-239 (2006). 2,225 IMDb-users have given Sprængfarlig Bombe a 6.0/10 average rating.] What do you think of Sprængfarlig Bombe?
+ Best Art Film of the Year + Best Copenhagen Movie of the Year + Best Debut Movie of the Year + Best Romance of the Year
The stars meet romantically on this beautiful poster for Christoffer Boe's Reconstruction, which undeniably aestheticizes smoking cigarettes
A man in a relationship suddenly falls for an unknown woman named Aimee and follows her, finding that she is also already entangled. But their connection is powerful all the same. Reconstruction is written by Mogens Rukov (Elise (1985)) and great debuting Danish co-writer/director Christoffer Boe (Beast (2011)). A salute should go out to Boe for injecting a strong dose of Parisian elegance into Danish cinema with this delectable love mystery. And yet Reconstruction still seems so Copenhagen and Nordic still. The film has a sommelier restaurant scene that may be putting on airs a bit, and the drama at times seems somewhat secondary and diffuse, - but it gets a renaissance later in the emotional finale. Nikolaj Lie Kaas (Just Another Love Story/Kærlighed på Film (2007)), Krister Henriksson (Faithless/Trolösa (2000)) and Maria Bonnevie (I Am Dina (2002)) give brilliant performances, and especially Bonnevie is fantastic. Reconstruction features innovative, inspiring photography by Manuel Alberto Claro (Nymphomaniac: Vol. I & II (2013)) on Super16, masked to CinemaScope format in editing. It is a hard-to-explain film of existential fear stemming from a story of the construction of a love story that evolves into a classical mystery. Somehow the unlikely thing happens and this all comes together, making Reconstruction one of the first highly distinctive and memorable Danish films of the new millennium. Related post: Christoffer Boe: Allegro (2005) or, His Past Was Lost in a Copenhagen Zone!
Cost: Unknown Box office: Around 1 mil. $ = Uncertain - but likely a huge flop [Reconstruction premiered 18 May (Cannes Film Festival, France) and runs 91 minutes. Shooting took place in Copenhagen, Denmark. The film enjoyed an extensive release of foreign markets and festivals for a Danish film. It sold 51,523 tickets in its production country Denmark, not bad for an art film, raking in approximately 515k $ (51.5 % of the total gross). It opened #81 to a 13k $ first weekend in 2 theaters in North America, where it never rose in rank but spread to 9 theaters and grossed 73k $ (7.3 %). North America was the 5th largest market; the largest was Denmark, followed by Argentina with 113k $ (11.3 %) and Russia with 90k $ (9 %). If the film was made on a probable low budget of around 2 mil. $, it would rank as a huge flop. It won 2 minor prizes in Cannes, was nominated for a European Film award and won 2/6 Robert nominations (Denmark's Oscar). Boe returned with Visions of Europe (2004, segment) and feature-wise with Allegro (2005). Kaas returned in Dogville: The Pilot (2003, short) and theatrically in Brothers/Brødre (2004); Bonnevie in Let's Play House/Mamma Pappa Barn (2003). Reconstruction is fresh at 72 % with a 6.29/10 critical average at Rotten Tomatoes.] What do you think of Reconstruction?
