This film delves into the depth of emotion without becoming over dramatic, and though the film parallels Bier's other film After the Wedding, it portrays these emotions with less drama and more poignant realism. Everyone is familiar with the darker workings of childhood social groups and how they can become either dangerous or beneficial, and in this case a complex interplay of both. There were few scenes in the film that made decisions look easy, which, in addition to the filming style, created a lot of realism in the film. Though some say the moral stories aren't new, the way the children are confronted with adult issues make a much more multifaceted situation. The main moral question of revenge versus forgiveness
Bier's Dogma reminiscent techniques and her use of parallel stories make for a realistic view of these two families interacting. Interacting is definitely an understatement; in classic Bier style, emotions intensify as the plot moves on. She deals with serious issues and negative affect, which is both brave and hard to watch. Though troubling to experience, the story was powerful enough to make viewers consider their own lives. While not everyone's experiences are to the extreme as in In a Better World, the basic situations are relatable to almost everyone. With her Dogma 95 reminiscent style, the filmmaking itself relates a realistic tone; the usually hand-held camera and shots of characters' faces full on make the film feel more like the viewer is seeing something real that happened.
The gruesome, violent and shocking scenes, to me, did not feel excessive. It was clear that the director aimed to portray real life horrors, not shock audiences in the way of a horror movie. The views of the wounds inflicted on the Africans were shudder-worthy, but I know there are realities like that in life and those people were lucky to see a skilled doctor. The violent beating of the bully at the school with the bike pump was cringe inducing and realistic enough to be truly uncomfortable to watch, which has a Dogma like feel. It is awful to watch, but there is some consolation in the knowledge that the bully won't bother them again. The way Christian took the revenge too far in his attempt to assert his power definitely foreshadowed his actions later in the plot.
The worlds of Africa and Denmark shown parallel to one another to emphasize the universality of the big questions Bier asks of her audience. When is revenge just, and when is it taken too far? The juxtaposition of the doctor treating a man guilty of atrocious crimes and a young boy willing to blow up a van to revenge his friend's dad after getting slapped around by Lars is quite striking. One can somewhat understand the doctor's decision to protect all life until the man starts making terrible comments about the dead girl, so when he turns the man over to the furious community, it feels as though justice has finally come to such a man. After this is shown and Christian convinces Elias to make a bomb, the horror of the situation is obvious. When Elias almost dies to save innocent people, the clarity of the bad decisions is crystal clear and the viewer just hopes that everyone lives long enough to forgive and move on. The happy ending felt a tiny bit forced, but in the same breath I will say that if the film ended with the death of a child, it would be needlessly depressing. She makes her points clear without putting the audience though emotional trauma.
The theme outside revenge was the father-son relationship. One relationship is happy overall, the father is absent often to be a surgeon in Africa with a happy father-son relationship. The other is more filled with angst because the mother died recently and Christian blames his father for it, which becomes the catalyst for most of the film's action. The fathers in Africa mourning the loss of their pregnant wives also play into those roles, even across the world the parental love shines through.
Honestly, there were many things to get out of this film of deep emotional and moral significance, but it also reinforced how terrifying the prospect of parenting is. You not only have to keep it alive, you also have to care for their delicate emotional health or they might make a bomb and almost blow their best friend to smithereens.
I digress; Bier's film is much more than a warning for parents. The children and the wonderful acting speak on a level understood by anyone, commentating on the time and place for revenge and forgiveness.
Bier's Dogma reminiscent techniques and her use of parallel stories make for a realistic view of these two families interacting. Interacting is definitely an understatement; in classic Bier style, emotions intensify as the plot moves on. She deals with serious issues and negative affect, which is both brave and hard to watch. Though troubling to experience, the story was powerful enough to make viewers consider their own lives. While not everyone's experiences are to the extreme as in In a Better World, the basic situations are relatable to almost everyone. With her Dogma 95 reminiscent style, the filmmaking itself relates a realistic tone; the usually hand-held camera and shots of characters' faces full on make the film feel more like the viewer is seeing something real that happened.
The gruesome, violent and shocking scenes, to me, did not feel excessive. It was clear that the director aimed to portray real life horrors, not shock audiences in the way of a horror movie. The views of the wounds inflicted on the Africans were shudder-worthy, but I know there are realities like that in life and those people were lucky to see a skilled doctor. The violent beating of the bully at the school with the bike pump was cringe inducing and realistic enough to be truly uncomfortable to watch, which has a Dogma like feel. It is awful to watch, but there is some consolation in the knowledge that the bully won't bother them again. The way Christian took the revenge too far in his attempt to assert his power definitely foreshadowed his actions later in the plot.
The worlds of Africa and Denmark shown parallel to one another to emphasize the universality of the big questions Bier asks of her audience. When is revenge just, and when is it taken too far? The juxtaposition of the doctor treating a man guilty of atrocious crimes and a young boy willing to blow up a van to revenge his friend's dad after getting slapped around by Lars is quite striking. One can somewhat understand the doctor's decision to protect all life until the man starts making terrible comments about the dead girl, so when he turns the man over to the furious community, it feels as though justice has finally come to such a man. After this is shown and Christian convinces Elias to make a bomb, the horror of the situation is obvious. When Elias almost dies to save innocent people, the clarity of the bad decisions is crystal clear and the viewer just hopes that everyone lives long enough to forgive and move on. The happy ending felt a tiny bit forced, but in the same breath I will say that if the film ended with the death of a child, it would be needlessly depressing. She makes her points clear without putting the audience though emotional trauma.
The theme outside revenge was the father-son relationship. One relationship is happy overall, the father is absent often to be a surgeon in Africa with a happy father-son relationship. The other is more filled with angst because the mother died recently and Christian blames his father for it, which becomes the catalyst for most of the film's action. The fathers in Africa mourning the loss of their pregnant wives also play into those roles, even across the world the parental love shines through.
Honestly, there were many things to get out of this film of deep emotional and moral significance, but it also reinforced how terrifying the prospect of parenting is. You not only have to keep it alive, you also have to care for their delicate emotional health or they might make a bomb and almost blow their best friend to smithereens.
I digress; Bier's film is much more than a warning for parents. The children and the wonderful acting speak on a level understood by anyone, commentating on the time and place for revenge and forgiveness.