Tuesday, April 19, 2011

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In a better world. The spiral of violence.

long since Denmark's Susanne Bier decided to re-sign their works and to settles his camera on a tripod, in this manner, certify his total abandonment of the movement Dogma'95 that she started with Lars Von Trier and Thomas Vinterberg . In fact, the director of the vow of chastity embraced the Dogma 95 in a single movie, Open Hearts (2002), and after this work began to recover for their accomplishments throughout what was listed as accessory in the Dogma 95 manifesto . Interesting part in his first and already mentioned in these parts, Brødre (2004) and fully and Things We Lost in the Fire his Hollywood adventure 2007. It is through these productions that we see, definitely, Susanne Bier has become a runaway who ends up embracing the very thing that demonized the Decalogue that she had signed: the genre film.
The drama is the genre chosen by the Danish director. A drama that handles well and which usually talk about issues in the hands of other directors, may fall into melodrama full of moralizing. Something Susanne Bier is able to avoid treatment with cold enough to, without being insensitive, that take precedence over questions raised by the answers provided, if any.
The topics discussed by the director on this occasion are, at least in part, to the most recent common themes Nordic Cinema: The response of childhood / adolescence compared to the absence of either parent, the child's behavior from a home unstructured when becoming aware of the violence in the world around him, the parent's inability to, freeing the burden of guilt, resentment or feelings of loneliness, being able to communicate with your child or children. All these issues, we saw in films as diverse as Fucking Amal (Lukas Moodysson , 1998), Lilya-4-ever ( Lukas Moodysson, 2002) or ; Let me ( Tomas Alfredson , 2008) are present in In a better world .
With his latest film, which won in 2010 with the Oscar for best foreign language film , the filmmaker is able to ask other questions through, above all, the character of the idealistic doctor delivered to humanitarian work in Africa "certain convictions can survive shock with reality and the violence that lives there? can transmit certain ideals about children, and at the end of his childhood, received daily samples of such violence? These were questions
Susanne Bier poses a better and other times with the worst hit. Therein lies the Achilles heel of this movie. As the story works well when moving within the family environment and acquire a tone more intimate (in this sense exemplary resolution of the scene of the doctor's visit, accompanied by children, the workplace of the madman to attack him at the park in front of them) whole loses a lot when he moves to African lands to give it a globalizing nature of the issues raised. The part of the story that unfolds in Africa will not just be well integrated into the set and is somewhat forced, although outstanding way circumvents the risks of being overly melodramatic. Susanne Bier
gives us, therefore, a more interesting job convincing performances and beautiful photography that the main concern is how we raise certain questions rather than provide answers.
A film that invites you to sit down and talk.

To view the trailer click here .

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