Movies The film about quirky teachers became a phenomenal hit in Denmark, but in the life of its director, the fourth day of filming changed everything.

Alcohol inspires the tragicomedy of Thomas Vinterberg and Mads Mikkelsen.

Thomas Vinterbergin guided One more is a strong aspirant for the best foreign film Oscar. The industry business magazine Variety raised that category to the top candidate even before the nominations were announced. In early December, it grabbed four important awards at the European Film Awards gala, including Best Film and Best Direction.

Crossing the border between comedy and tragedy, the film tells the story of alcohol, more specifically, four early-middle-aged teachers who begin to tickle with determination and without interruption. They are inspired by the theory that a small amount of alcohol in the blood prevents depression.

“Alcohol is a major issue in world history,” Vinterberg says.

“It elevates conversations and elevates the mood, but on the other hand destroys families and kills.”

Oscar opportunities have also been featured in the bulk To Mads Mikkelsen. Vinterberg directed him earlier in the film Yacht, who was nominated for an Oscar eight years ago. Vinterberg’s films are also well known for accelerating the Dogma95 movement Party (1996).

Mads Mikkelsen in Thomas Vinterberg’s film Yacht.­

One more depicts both joy and stressed emotions and the spiral of addiction.

“Life and, say, the creative processes of my own work are an alternation of destruction and construction. In many ways, we want to get away from the boring and mediocre. ”

Vinterberg wrote the film together Tobias Lindholmin with. In addition to breaking the alcohol relationship with the Danes, they draw a picture of the craze of the fifties.

“The film also talks about self-control and the desire to get rid of it,” Vinterberg says.

“What are blockages? My wife is a priest, and she thinks falling in love is a good example of when unrestrained takes over. Falling in love is very irrational. One justification for detachment and intoxication is external pressure. Members of society are constantly evaluated and managed in many ways. ”

“The desire to get out of control is perhaps especially strong for the Danes, because we are so horribly sensible as we are.”

The film left its mark on the grief of the director’s own life. On the fourth day of filming, news arrived: Vinterberg’s 17-year-old daughter Ida had died in a car accident in Belgium.

“That’s what destroys life. Everything changed. “

In the following days, Lindholm succeeded Vinterberg as director. Many of the filmmakers were friends with Vinterberg and had known Ida for this whole life.

“If the film conveys feelings of love and care, maybe they will come from there. If you laugh, maybe the humor comes from the fact that my four closest friends tried to make me laugh when it was impossible. ”

The psychiatrist assured the instructor that if he could, he would return to work.

“Oops, the movie about alcohol turned into a movie about love and life.”

Finland the premiere is on February 19th. A prerequisite for its realization is even a slight relaxation of pandemic restrictions in the metropolitan area.

In Denmark One more came to cinemas in September. It has received more than 800,000 viewers in a country the size of Finland. In Finland, the same has been achieved throughout the 21st century only Unknown Soldier.

“I guess we were helped by a lack of competition,” Vinterberg says, suggesting that Hollywood premieres have hardly been seen since the spring due to the pandemic.

He believes his films appeal to different audiences in different ways.

“The 19-year-olds are going to see it for the second time on Friday night with a beer bag, and equally there may be members of Anonymous Alcoholics on display who feel the story is telling just about them,” the director describes.

“Film is not moralistic,” but allows for a wide variety of interpretations.

Vinterberg believes in the future of film

Right now cinemas are closed in Finland and Denmark due to the corona pandemic. Thomas Vinterberg believes that cinemas and the traditional method of distribution will withstand the turmoil of an exceptional time.

“The world will not change so little. Mankind will not change its ways in one generation, ”the director ponders.

“It takes more than a pandemic. A great trauma like war could change your thinking about a lot. Everything returns to normal in good and evil. ”

Vinterberg says he believes in the film’s special ability to convey experiences and people’s desire to receive stories from the big screen.

“Community is important. A dark room where the same emotional experience is shared will continue to attract large audiences. ”

And it’s not just about what the screen offers. Different ways of watching at home than going to the movies.

“It’s a ritual of expectations where you pay for a ticket, look for your seat, and receive something that can’t be interrupted with the pause key,” Vinterberg thinks.

“The whole auditorium breathes in the same rhythm. A cinema is a place of its kind where you hold one hand and maybe more. ”


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