And Then We Danced/და ჩვენ ვიცეკვეთ (Da chven vitsek'vet) (2019) - Swede strikes for LGBT rights in Georgia

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The fantastical emotion of unhindered freedom found in folk dance is encapsulated beautifully on this elegant poster for Levan Akin's And Then We Danced

Merab is a passionate dancer in the tradition of Georgian folk dance, who falls for a new, male dance colleague and competitor during a period leading up to a pivotal audition in the traditional and Conservative country.

And Then We Danced is written, directed and co-edited by Levan Akin (Katinkas Kalas (2011)). The original Georgian title translates to, 'and we danced'.

With a dedicated and strong performance by debuting Levan Gelbakhiani as Merab and a thrilling insight into a rarely seen nation and culture, And Then We Danced attracts its viewers.  But its secret taboo romance is seen many times before and is related in a very leisurely pace, which dramatically slows our investment in the film, which is lifted by the finishing audition dance scene.

 

Watch a trailer for the film here

 

Cost: Unknown

Box office: 625k $

= Uncertain but likely a huge flop (projected return of 0.625 times its cost)

[And Then We Danced premiered 16 May (Cannes Film Festival, Director's Fortnight section) and runs 105 minutes. Akin, born in Sweden with Georgian ex-pat parents, decided to make the film after seeing footage of a Gay Pride parade in Georgia getting attacked by homophobes. 10 companies and support bodies collaborated in the financing and production of the film. Shooting took place in Georgia, including in Tbilisi. The film was met with death threats, protests, dismissals and a refusal for support by official Georgia, including the Culture Ministry, the Church and the National Ballet, due to the country's homophobic culture. Hundreds protested the films cinema screenings in Georgia, with the police forcefully enforcing the peace and safety of cinema-goers. The Georgian gross is regrettably not reported online. The film opened #48 to a 13k $ first weekend in 2 theaters in North America, where it peaked at #43 and in 23 theaters (different weekends), grossing 177k $ (28.3 % of the total gross). North America was the film's 2nd biggest market. The biggest was Spain with 182k $ (29.1 %); 3rd biggest was the Netherlands with 142k $ (22.7 %). The cost of the film is unknown but is here projected to have been a low 1 mil. $. The film was nominated for a European Film award and won 4/7 Guldbagge award nominations, among other honors. It was chosen as Sweden's film for the Best Foreign Language Film Oscar but did not get nominated. Akin returned with Deg (2021, TV-series) and theatrically with Crossing (2024). Gelbakhiani has not returned in a film yet but is slated to return in two films in post production, Don't Let the Sun (Catch You Crying) and Youri. And Then We Danced is certified fresh at 93 % with a 7.90/10 critical average at Rotten Tomatoes.]

What do you think of And Then We Danced?

Popular Music/Populärmusik från Vittula (2004) - Wild coming-of-age in country-side Sweden

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Two boys in various outdoor situations make up this unclear poster for Reza Bagher's Popular Music

Two boys in a small corner of Sweden near the Finnish border become friends and later start a rock band in their homestead, which is eating into them.

 

Popular Music is written by Erik Norberg (Iskungen (2001, short)) and co-writer/director Reza Bagher (Vingar av Glas (2000)), adapting the same-titled 2000 novel by Mikael Niemi (Astrotruckers/Svålhålet (2004)). The original Swedish title translates to 'popular music from Vittula'.

It is a high-energy coming-of-age drama (think C.R.A.Z.Y. (2005)) with many funny scenes (the asphalt scene and the church scene are especially memorable.) And four sweet lads at the front, playing Matti and Niila at ages 7 and 15, respectively.

But the narrative is also a jumbled affair, devil-may-care and dynamic, which at times almost seems to forget the boys in order to relate something amusing about fringe area Swedes and Finlanders. We suddenly leave Matti and Niila as boys to find them again almost ten years later with no explanation or clear understanding of who is who. (They have changed an incredible lot.)

There is plenty of fun in Popular Music, but the direction is unclear. It becomes very dark and dramatic in periods after excessive abandon, which also demands more of the average viewer than can be expected.

 

Watch a 1-minute clip from the film here, uploaded by the actor in the clip who gets hit by a bus in the clip, without it being planned, and who calls director Bagher a 'demon' in the caption, claiming that extreme working hours and stress led to accidents and lax safety during production

 

Cost: Reportedly 2.224 mil. €, approximately 2.37 mil. $

Box office: Uncertain - but at least 1.52 mil. $

= Uncertain; projected huge flop (projected return of 0.64 times its cost)

[Popular Music premiered 19 September (Sweden) and runs 105 minutes. Shooting took place from August - October 2003 in Sweden. The film has two markets listed on its Box Office Mojo: Finland (932k $) and Norway with 416k $. Sweden is missing, and so is Denmark, where 11k bought admission (approximately 123k $). Iranian-born Bagher never returned as a filmmaker after the film's release. 5.5k IMDb members have given Popular Music a 6.5/10 average rating.]

What do you think of Popular Music?

The Girl Who Kicked the Hornets' Nest/Luftslottet som Sprängdes (2009) - Alfredson's yawn-worthy Millennium conclusion

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Noomi Rapace as Lisbeth Salander, again smoking on a poster for a film, this time for Daniel Alfredson's The Girl Who Kicked the Hornets' Nest

While avenging angel hacker Lisbeth Salander recuperates and readies herself for trial, Michael Blomkvist continues to investigate the case as a journalist and during his digging through the System reveals a secret branch of the Swedish Security Police.

 

The Girl Who Kicked the Hornets' Nest is written by Ulf Ryberg (Headhunters (2011)) and Jonas Frykberg (Detalker (2003)), adapting the same-titled 2007 novel by Stieg Larsson (The Girl with the Dragon Tattoo/Män Som Hatar Kvinnor (2005)), and directed by Daniel Alfredson (Roseanna (1993)). It is the third and final film in the Millennium trilogy, based on Larsson's Millennium novel trilogy. The original title translates to, 'the air castle that was blown up', with the 'air castle' being a Scandinavian idiom that refers to a pipe dream.

The film is tiring in length, centering on the 'section' of the Security Police, which remains deeply mystical and hazy. Just as the second film, The Girl Who Played with Fire (2009), also by Alfredson, this one drifts around. 

There are good trial scenes, and Anders Ahlbom Rosendahl (Wallander (2006, TV-series)) is good as hospital administrator and crook Dr. Teleborian. But The Girl Who Kicked the Hornets' Nest also involuntarily shows Sweden and the Swedes, (along with Michael Nyqvist's (John Wick (2014)) hero Micke), as a foolishly naive country and people. (True to reality in some ways.)

 

Related posts:

 

Millennium trilogy: The Girl Who Played with Fire/Flickan Som Lekte med Elden (2009) - Sloppy, overlong seconds 

The Girl With the Dragon Tattoo/Män Som Hatar Kvinnor (2009) - An exciting adult ride in sadism and mystery from cold cold Sweden

 

 

Watch a trailer for the movie here

Cost: Reportedly 5.3 mil. $

Box office: 44.2 mil. $

= Mega-hit (returned 8.33 times its cost)

[The Girl Who Kicked the Hornets' Nest was released 27 November (Denmark, Sweden, Norway) and runs 147 minutes. Shooting took place in Sweden, including in Stockholm. The film opened #13 to an 881k $ first weekend in 154 theaters in North America, where it peaked in 208 theaters but didn't achieve a higher ranking, grossing 5.1 mil. $ (11.5 % of the total gross). The film's 3 biggest markets were Sweden with 10 mil. $ (22.6 %), Denmark with 9 mil. $ (20.4 %) and Norway with 5.2 mil. (11.8 %). Roger Ebert gave it a 3/4 star review, translating to 2 notches over this one. Alfredson returned with Odjuret (2012, TV movie) and theatrically with Skumtimmen (2013). Noomi Rapace (Prometheus (2012)) returned in Beyond/Svinalängorna (2010); Nyqvist in The Woman Who Dreamt of a Man/Kvinden Der Drømte Om en Mand (2010). The Girl Who Kicked the Hornets' Nest is rotten at 53 % with a 5.90/10 critical average at Rotten Tomatoes.]

What do you think of The Girl Who Kicked the Hornets' Nest?

The Girl Who Played with Fire/Flickan Som Lekte med Elden (2009) - Sloppy, overlong seconds

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An assured Noomi Rapace as Lisbeth Salander in dark, punky robes and hair smokes a cigarette against a car in flames, seemingly unworried, on this poster for Daniel Alfredson's The Girl Who Played with Fire

Renegade hacker Lisbeth Salander returns to Stockholm after a year abroad and is soon accused of 3 murders. They are related to Mikael Blomkvist's new, controversial edition of the Millennium magazine, which sheds light on human trafficking.

 

The Girl Who Played with Fire is written by Jonas Frykberg (Detaljer (2003)), adapting the same-titled 2006 novel by Stieg Larsson (The Girl with the Dragon Tattoo/Män Som Hatar Kvinnor (2005)), and directed by Daniel Alfredson (Roseanna (1993)). It is the 2nd film in the Millennium tilogy, based on Larsson's novel trilogy. The English title is a literal translation of the original Swedish title.

If you watch the extended 180 minute version of this, available on home video, beware that it is not only almost an hour longer than the original theatrical cut, it is also at least an hour overlong! It completely loses its suspense in its second half. Here the plot also grows foolish, SPOILER as we recognize that the film's villain is the blond ex-boxer, who is not very frightening. Along comes Salander's face-melted father, - and a half-brother who can't feel pain. The dad turns out to be a Russian spy, while Lisbeth herself can get buried alive and shot again and again - yet live!

The good opening maneuvers are lost on a fatally loose grip on the thriller, with just about every shot in the film labored with some 'fat' that should have been cut from it. Also cinematically, Alfredson's sequel is a far step from the quality and wealth of detail that enriched the fine first film. 

 

Related post:

 

Millennium trilogy: The Girl With the Dragon Tattoo/Män Som Hatar Kvinnor (2009) - An exciting adult ride in sadism and mystery from cold cold Sweden

 

Watch a trailer for the film here

 

Cost: Reportedly 4 mil. €, approximately 4.35 mil. $

Box office: 67.1 mil. $

= Mega-hit (returned 15.42 times its cost)

[The Girl Who Played with Fire was released 18 September (Denmark, Sweden, Norway, Finland) and runs 129 minutes. Shooting took place in Portugal and Sweden, including in Stockholm. The film opened #11 to a 904k $ first weekend in 108 theaters in North America, where it peaked in 178 theaters but didn't achieve a higher ranking, grossing 7.6 mil. $ (11.3 % of the total gross). The film's 3 biggest markets were Sweden with 14.4 mil. $ (21.5 %), Denmark with 11.9 mil. $ (17.7 %) and Norway with 7.8 mil. $ (11.6 %). It was nominated for a European Film award. Roger Ebert gave it a 3.5/4 star review, translating to 3 notches over this one. Alfredson returned with The Girl Who Kicked the Hornet's Nest/Luftslottet Som Sprängdes (2009), the final film in the Millennium trilogy. Noomi Rapace (Bright (2017)) returned in that film; Michael Nyqvist (Colonia (2015)) first in Bröllopsfotografen (2009). The Girl Who Played with Fire is fresh at 69 % with a 6.20/10 critical average at Rotten Tomatoes.]

What do you think of The Girl Who Played with Fire?

The Hypnotist/Hypnotisören (2012) - Hallström returns to the fatherland with thriller turkey

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Uncomfortably staring stars with bluish faces make up this poster for Lasse Hallström's The Hypnotist

A basketball trainer and an entire family have been stabbed to death: Only a big lad survives - but in a coma - and a hypnotist attempts to get answers from him.

 

The Hypnotist is written by Paolo Vacirca (Feed (2022)), with co-writer/director Lasse Hallström (En Kille och en Tjej (1975)) contributing story elements, adapted from Lars Kepler's (Stalker (2014)) same-titled 2009 novel.

Completely incompetent as a thriller, The Hypnotist is an assembly line 'Nordic noir' that also rests on a very dubious story. As seen before the Swedish setting has been robbed of almost all color and humor, and instead Mikael Persbrandt (King Arthur: Legend of the Sword (2017)) here walks around and looks like a middle-age crisis-hit man with a bad case of hangover, who hypnotizes people. Lena Olin (Vinyl (2016, TV-series)) plays one of the film's snapping, commanding, sour females.

Violent but unexciting, the film has desperately dull relationship scenes, crisis of confidence scenes, crying children and general discouragement, darkness and ugly settings. Suddenly near the end a more dramatic action suspense is erected out on the ice (literally) but it is hopeless. The Hypnotist is a toothache-reminiscent torment of a film.

 

Related post:
 

Lasse Hallström: Chocolat (2000) - Delicious pairing in spite of Hallström's ghastly taste

 

Here is a video from a press conference for the film

 

Cost: 61 mil. SEK, approximately 5.91 mil. $

Box office: 7.1 mil. $

= Big flop (returned 1.20 times its cost)

[The Hypnotist was released 28 September (Sweden) and runs 122 minutes. Shooting took place from January - March 2012 in Sweden, including in Stockholm, and in Prague, Czech Republic. The film opened #1 to a 974k $ first weekend in Sweden, where it remained for another 2 weekends in the top 5 (#2-#3), grossing 3.8 mil. $ (53.5 % of the total gross). The 2nd and 3rd biggest markets were Denmark with 916k $ (12.9 %) and Spain with 646k $ (9.1 %). The film was only shown at a couple of film festivals in North America. It was chosen as Sweden's Oscar entry of the year but went without nomination. Hallström returned with Safe Haven (2013). Persbrandt returned in Mig Äger Ingen (2013); Tobias Zilliacus (Beck (2018, TV-series)) in 7 TV and short credits prior to his theatrical return in Onnelin ja Annelin talvi (2015); and Olin in Night Train to Lisbon (2013). 8.4k+ IMDb users have given The Hypnotist a 5.6/10 average rating.]

 

What do you think of The Hypnotist? 

About Endlessness/Om det Oändliga (2019) - Andersson retires with so-so trademark work

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A couple are floating away under grey clouds on this grey-toned poster for Roy Andersson's About Endlessness

The priest who has lost his faith, - and who doesn't find much care or comfort at the psychologist's office, - is the through-line motif.

 

About Endlessness is written and directed by great Swedish filmmaker Roy Andersson (Lördagen den 5.10 (1969)).

Andersson's latest, and likely his last feature, repeats his familiar style with a long row of more or less poignant tableaus. But the Swedish reality outside of Andersson's creative universe unfortunately seems to have changed more at this point, than the auteur is able to reflect (and likely understand.) And About Endlessness feels somewhat ritualistic.

 

Related posts:

 

Roy Andersson: 2014 in films and TV-series - according to Film Excess [UPDATED IV]
2014 in films and TV-series - according to Film Excess [UPDATED III]
2014 in films and TV-series - according to Film Excess [UPDATED II]
2014 in films and TV-series - according to Film Excess [UPDATED I]

A Pigeon Sat on a Branch Reflecting on Existence/En Duva Satt på en Gren och Funderade på Tillvaron (2014) - Perhaps Andersson's best film yet

 

 

Watch a trailer for the film here

 

Cost: Reportedly 4.558 mil. €, approximately 4.68 mil. $

Box office: In excess of 434k $

= Some uncertainty but likely a box office disaster (projected return of 0.16 times its cost)

[About Endlessness premiered 3 September (Venice Film Festival) and runs 78 minutes. Shooting took place in Stockholm, Sweden. The film opened #31 to an 8k $ first weekend in 17 theaters in North America, where it did not achieve a higher position and grossed 51k $. The film's Box Office Mojo site regrettably is missing its likely most important market (Sweden), with Germany the biggest one recorded there with 193k $. A projected final gross with Sweden and a small (also unlisted) contribution from Denmark also, is 750k $. The film won a European Film award, 1/4 Guldbagge awards and the Silver Lion at the Venice Film Festival, among other honors. Andersson, who was 76 at the time of the film's release, has not returned with a film since and has likely retired. About Endlessness is certified fresh at 94 % with an 8.10/10 critical average at Rotten Tomatoes.]

 

What do you think of About Endlessness? 

Evil/Ondskan (2003) - Håfström impresses with forceful Guillou adaptation

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+ Best Period Movie of the Year + Best Swedish Movie of the Year

 

A fresh-faced young man in a boarding school uniform against a clouded sky makes up this poster for Mikael Håfström's Evil

Erik Ponti is a young violent thug, made so by his tyrannical, abusive step-father, who in 1958 sends him off to a boarding school for sons of Sweden's elite, where violence also plays a central role.

 

Evil is written by Hans Gunnarsson (King of Ping Pong/Ping-Pongkingen (2008)), Klas Östergren (Gentlemen (2014)) and great Swedish filmmaker, co-writer/director Mikael Håfström (Vendetta (1995)). It is an adaptation of the same-titled 1981 semi-autobiographical bestseller by Jan Guillou (The Road to Jerusalem/Vägen till Jerusalem (1998)). The English title is a literal translation of the original Swedish title.

The scenes of violence are staged with convincing power, and the acting performances, - with an intense, dogged Andreas Wilson (The Italian Key (2011)) in front as Erik, - are uniformly good in this well-made film of Guillou's school-time recollections, fantasies and traumas.

Evil has a fine width to its narrative, is a splendid production and edited to perfection. A compelling and exciting film.

 

Related posts:

 

Mikael Håfström: 1408 (2007) or, The Haunted Hotel Room

Derailed (2005) - Håfström's pointless romance thriller 

2003 in films and TV-series - according to Film Excess [UPDATED II] 

 

 

Watch a short clip from the film here

 

Cost: 20-22 mil. SEK, (different reports), approximately 1.92-2.11 mil. $

Box office: Approximately 7.48 mil. $

= Big hit (returned 3.54-3.89 times its cost)

[Evil premiered 16 May (Cannes Film Festival, out of competition) and runs 113 minutes. The adaptation had been envisioned as a TV-series, but Håfström convinced the producers to allow him to make it as a film. Shooting took place in 30 days from October - November 2002 in Stockholm. The film opened #102 to a 2k $ first weekend in North America, where it did not achieve a higher position although it widened to 4 theaters, grossing 15k $ (0.2 % of the total gross). The film was a huge hit in Sweden, where it sold 959,223 tickets, coming to approximately 6.45 mil. $ (86.2 %). It sold 50,776 tickets in Denmark, its 2nd biggest market, coming to approximately 510k $ (6.8 %). The 3rd biggest market was Norway with 280k $ (3.7 %). The film was nominated for the Best Foreign Film Oscar, lost to The Barbarian Invasions. It won 3/7 Guldbagge nominations (Sweden's Oscar), among other honors. Håfström returned with Drowning Ghost/Strandvaskaren (2004). Wilson returned in Animal (2005). Evil is fresh at 68 % with a 6.5/10 critical average at Rotten Tomatoes.]

 

What do you think of Evil?

Waltz for Monica/Monica Z (2013) - Fly's overrated, neat yawn inducer

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Edda Magnason looks dazzling on this glamour-indicating poster for Per Fly's Waltz for Monica

 

Monica is a telephone operator in a small Swedish community, where her small-minded father keeps her hopes and aspirations down, aspirations of becoming a jazz singer. But she will show him.

 

Waltz for Monica is written by Peter Birro (Knockout (2000)) and directed by great Danish filmmaker Per Fly (Bænken (2000)), based on the life of Monica Zetterlund.

It is well-acted, well behaved and skillfully shaped - but a deadly bore. Predictable and etched in such well-known thematic terrain (alcoholism, career vs. children etc.) that one almost breaks one's toes cringing from displeasure.
Recognition arrives to the very stubborn, Waltz for Monica shows. Alas. What junk.

 

Related post:

 

2013 in films and TV-series - according to Film Excess [UPDATED VI]

Watch a trailer for the film here

 

Cost: 40 mil. SEK, approximately 4.58 mil. $

Box office: 9 mil. $

= Big flop (returned 1.96 times its cost)

[Waltz for Monica was released 13 September (Sweden) and runs 111 minutes. Shooting took place in Sweden, including in Stockholm, and in New York. The film was the 4th highest-grossing in Swedish cinemas in 2013 with a gross of 7.1 mil. $ (78.9 % of the total gross). The 2nd and 3rd biggest markets were Denmark with 1.5 mil. $ (16.7 %) and Norway with 48k $ (0.5 %). In North America it was screened at the Newport Beach International Film Festival. It won 4/11 Guldbagge awards, Sweden's Oscar. Fly returned with Follow the Money/Bedrag (2016, TV-series) and theatrically with Backstabbing for Beginners (2018). Edda Magnason, a previously unknown actress, has only returned in Box 21 (2020, miniseries); Sverrir Gudnason (Falling (2020)) in Gentlemen (2014); and Kjell Bergqvist (Deathly Compulsion (1999)) in Den Fjärde Mannen (2013-14) and theatrically in Prästen i Paradiset (2015). 3,900+ IMDb users have given Waltz for Monica a 6.9/10 average rating.]

What do you think of Waltz for Monica?

Mammoth (2009) or, Modern Life Misery

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Intimacy and depressive shell-shock appearance clash on this dropped-in-space poster for Lukas Moodysson's Mammoth

 

A nurse in New York has her hands in life and death situations at work, while her daughter is taught words by a Filipino nanny/maid who has two sons of her own, who miss her. The father in the New York family is off on a contract-signing job in Thailand.

Mammoth is written and directed by great Swedish filmmaker Lukas Moodysson (Show Me Love/Fucking Åmål (1998)). The title refers to a mammoth ivory pen that the man receives in the film as well as a line from one of Moodysson's poetry collections: "Our Savior buried like a Mammoth."

The film starts alright, and one senses quickly that here is an emotional drama with high stakes involved. But the very Swedish family drama, relocated to New York, or so it feels, gets too labored and sharpened in that every story in Mammoth seemingly must move towards misery. At the same time Michelle Williams (Wendy and Lucy (2008)) and Gael García Bernal's (The King (2005)) lead couple, - who seem like the filmmaker's exponents for the competent modern day parents, who still feel lost in the world, (because they lack a resting-place in faith/religion), - are wearying. - Especially Bernal, whose character is thoroughly insufferable in Thailand, where he by turns lectures on (Swedish) equality philosophy, makes promises voraciously as some 16 year-old, gets what he wants and then takes off.

SPOILER The impact of a couple of the tragedies in Mammoth (a boy passes away in the hospital; the nanny/maid's son is raped in the Philippines) is also lessened, because we see them arriving in advance. Moodysson's well-meaning and often well-acted fate-crossing drama can with a bit of harshness be described as misery porn, and it also seems very inspired by Alejandro Gonzáles Iñárritu's masterpiece Babel (2006), though it (also) lacks that film's striking visuals. Mammoth is overrated.

Moodyson presents the film here in a 2-minute clip

Cost: 10 mil. $

Box office: 2 mil. $

= Box office disaster (returned 0.2 times its cost)

[Mammoth premiered 19 January (Stockholm, Sweden) and runs 125 minutes. Shooting took place in Thailand, the Philippines, New York and Sweden from November 2007 - ?. Williams learned that her fiancee, star actor Heath Ledger had passed away in his sleep while filming Mammoth. The film opened #83 to a 4k $ first weekend in 1 theater in North America, its only release in the country, where it grossed just 9k $ (0.5 % of the total gross). The 3 biggest markets were Sweden with 1.5 mil. $ (75 %), Spain with 182k $ (9.1 %) and Finland with 113k $ (5.7 %). The film won a Guldbagge (Sweden's Oscar). Roger Ebert gave it a 3/4 star review, translating to 2 notches higher than this one. Moodysson returned with We Are the Best!/Vi Är Bäst! (2013). Bernal returned in The Limits of Control (2009); Williams in Blue Valentine (2010). Mammoth is rotten at 45 % with a 5.18/10 critical average at Rotten Tomatoes.]

What do you think of Mammoth?

The Wife (2017) - Strong acting tethers complex marrital drama

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The two stars, dressed for gala, send tense, loathsome looks on this poster for Björn Runge's The Wife

An American novelist is awarded the Nobel Prize in literature, and together with wife and son, the three make the daunting journey across the pond, as old resentment and a major secret surface.

The Wife is written by Jane Anderson (Mad Men (2008, TV-series), adapting the same-titled 2003 novel by Meg Wolitzer (Surrender, Dorothy (1998)), and directed by Björn Runge (Harry och Sonja (1996)). It is a tense and fraught marital drama with Bermanesque tones, (especially since it is mostly set in Sweden), which is powered by sharp performances, especially from leads Jonathan Pryce (Leatherheads (2008)) as the Grand Man author husband, whom Glenn Close's (Hoodwinked! (2005, voice)) complex wife character has just about had enough of finally.
Christian Slater (Breaking In (2011-12)) is solid as a bio-writer, who is sympathetic while at the same time circles the couple with a vulture-like hunger; Max Irons (Dorian Gray (2009)) seems a little old to be the son who lives in his father's shadow, badly needing his approval, but he plays well in the climactic fight and denouement scenes. Harry Lloyd (The Iron Lady (2011)) and Annie Starke (Albert Nobbs (2011)) are very good and credible as young versions of the marrieds, SPOILER who lay the groundwork for the constellation of a Great Writer husband and a secretly ghost-writing missus, which is tearing their marriage apart half a century later.
The Wife is generally a fine drama and a great occasion for Pryce and Close to shine in fleshy roles, which they both fill out very satisfyingly.
It annoys that characters more than once smoke indoors in contemporary Swedish establishments, which is simply unthinkable and has been for more than a decade, important VIP guest or not. Lazy writing, honestly, because what modern people light up cigarettes in fancy locations today?
And then there are small psychological things that nag: SPOILER After decades of such self-discipline, why exactly does Close's character have to explode so impulsively when at the plush gala, seated right next to Swedish royalties? The ending has her indicating that she will write another book under her own name, implying that her deceitful nature now turns to self-deceit, as she must imagine that she'll be able to publish without the world realizing her secret as a decades-long ghost writer.
SPOILER It doesn't seem to be intentional from the creators, but the many decades of diligently churning out novels without demanding credit by Close's character in my eyes blocks an exculpation of her now as her husband takes the world' arguably highest literary honor. She is no victimized innocence but someone who has entered a marriage for self-serving purposes (publication), just as her husband did (to attain her gift for writing.)
The Wife serves well as a debate-starting picture about deceit, equality and the basis of relationships.

Watch a trailer for the film here

Cost: Unknown
Box office: 14.2 mil. $ and counting
= Uncertain
[The Wife premiered premiered 12 September (Toronto International Film Festival, Ontario) and runs 100 minutes. Frances McDormand, Gary Oldman and Logan Lerman were pursued to star in the film. Shooting took place in Stockholm, Sweden and in Scotland, including Glasgow, ending in October 2016. The film opened #35 to a 108k $ first weekend in 4 theaters in North America, where it has peaked at #14 and in 541 cinemas and grossed 7.6 mil. $ to date. The 2nd and 3rd biggest markets are Australia with 2 mil. $ and the UK with 1.9 mil. $ but the film is still playing. It will open in Russia 22 Nov., Norway 23 Nov. and in Japan on 26 Jan. 2019. It is rumored that Close is up for a Best Actress Oscar nomination, which would give the film another push in North America and globally. If the film is made for a likely 8-10 mil. $, it still has quite a distance before becoming a theatrical success. Runge is announced to next helm US drama Remember Me. Close returned in Crooked House (2017), Pryce in The Man Who Invented Christmas (2017). The Wife is certified fresh at 84 % with a 7.1/10 critical average at Rotten Tomatoes.]


What do you think of The Wife?