SVS: “After the Wedding”

Last updated on: January 13, 2015 at 6:44 pm by Joseph Susanka

SVS: “After the Wedding” 2015-01-13T18:44:23-07:00 Joseph Susanka

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I’m not going tell you much about today’s recommendation — Susanne Bier’s After the Wedding (Efter brylluppet) — because I think it’s better to watch this one pretty cold. In fact, I’m really only allowing the trailer because it’s not particularly accurate. (Or at least it doesn’t really spoil things. It’s mostly just setting up the story/giving you the premise.)

All I really want to say is that it’s wrenching and demanding. And really difficult to watch. And brutally, achingly honest and human.

Oh, and beautiful: Beautifully shot, beautifully written, beautifully directed and acted, and beautifully insightful. Very moving stuff, despite the fact that I didn’t quite love the film’s ending. (I loved the story’s ending, though. Yes, that’s an odd distinction, but I think it makes sense. No, I won’t tell you why. You’ll have to watch it first.)

It’s on NETFLIX INSTANT. And AMAZON PRIME($).

To save the failing orphanage he runs, Jacob meets with a businessman who’s offered him a generous donation — but there are strings attached.

If Rolf Lassgård’s searing, volcanic performance is not the best thing about this film, then it’s Mads Mikkelsen’s — slightly more contained, but just as devastating. Now that I think on it a bit further, it’s probably Sidse Babett Knudsen’s turn as Helene, a woman caught between the man of her past and of her present. Actually, you know what? They’re all amazing performances. I can’t pick one.

Having recently watched In a Better World, though, I’d just add that the Anders Thomas Jensen/Susanne Bier collaboration is a special one. I’m preparing to explore it more fully in the coming months. (Jensen’s not half bad on his own, either.)

One very interesting thing Bier and her DP do in this film from a stylistic perspective: They use some of the most intense — almost invasive — close-ups I’ve ever seen. It took me a while to get used to the style, honestly. But looking back on the film, I can see why they did it. And I’m glad they did. (Sort of reminds me of stylistic-and-artistic decision the Dardenne Brothers made in The Son (Le fils). Which was equally unsettling, at first. And also equally essential to the film’s power and effectiveness.)

A Final Note: Apparently, this was the first Danish film to be nominated for Best Foreign Language Film in over 15 years. It didn’t win, though, eventually stepping aside for Germany’s entry, The Lives of Others. Wow. What a great year.

Attribution(s): Publicity images and film stills are the property of IFC Films and other respective production studios and distributors, and are intended for editorial use only.

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