![]() ![]() Find more information about: OCLC Number: 920923091 Language Note: Danish dialogue; Spanish or English subtitles; English subtitles for the deaf and hard of hearing (SDH). Notes: Originally produced as a motion picture in 2014. Anamorphic widescreen (2.39:1). Credits: Composer, Mikkel Hess; editor Peter Brandt; cinematographer, Niels Thastum. Cast: Sonia Suhl, Lars Mikkelsen, Sonja Richter, Jakob Oftebro. Target Audience: MPAA rating: R; for some violence, sexuality/nudity, and drug use. Description: 1 videodisc (85 min.): sound, color; 4 3/4 in. May 13, 2014 - Foto zum Film 'When Animals Dream - Når dyrene drømmer' (2014): Film-Szenenbild. Video ansehen Når dyrene drummer // When Animals Dream InstruktørJonas: Alexander Arnby Manuskript: Rasmus Birch Producer: Ditte Milsted, Caroline Schlüter. Details: DVD, region 1, anamorphic widescreen (2.39:1); Dolby Digital. Other Titles: When animals dream Responsibility: AlphaVille Pictures Copenhagen præsenterer en film af Jonas Alexander Arnby; producere, Caroline Schlüter Bingestam & Ditte Milsted; manuskriptforfatter, Rasmus Birch; instruktør, Jonas Alexander Arnby. Even from its gorgeous opening photography, we know we’re in good hands with When Animals Dream ( Når dyrene drømmer ). The second film in LIFF’s fun-packed Day of the Dead marathon, this film is my pick of the festival so far. The werewolf story is a tricky one to get right. It’s a very fun genre but the standout pictures almost always bring something original to the table (think Company of Wolves (1984), Ginger Snaps (2000), Dog Soldiers (2002) etc.) And, when you think about it, it’s not hard to appreciate the enormous challenge of doing something fresh in this arena when the premise is so restricting: most of the time you’re a human, on a full-moon you turn into a wolf. That’s about it. Yet, the very best directors in gothic cinema always manage to find a new perspective. Living in a small fishing village in Denmark, Marie is a quiet, dutiful daughter to her father, Thor (Lars Mikkelson), and mother, Mor ( Sonja Richter), who has a debilitating illness. Taking a job at a fish processing plant, Marie who is caught in the throes of puberty, begins to notice and get attention from several local boys. In particular, Marie finds a bond with Daniel ( Jakob Oftebro) who is a gentle presence in what appears to be a particularly macho environment. Meanwhile, privately, she harbours concerns about her own body and the illness she may have inherited from her mother. The film uses the metaphor of the werewolf as a vehicle to explore the transformation from girl to woman. But, although it shares this territory with Ginger Snaps, there’s much to mark it out as original and exceptional. This is a film which doesn’t just deal with sexual anxieties but can be read as a criticism of the patriarchal control of the female body. This issue is played out skilfully, in several cleverly constructed episodes, by director Jonas Alexander Arnby. When the angry village mob suspect Marie’s mother of having involvement in the death of the local doctor, they insist on inspecting her body. “We have to see her without clothes,” they demand; to which her husband begrudgingly acquiesces. Throughout the film, Marie’s concern for the hair growth she develops is a source, initially, of shame and then of proud defiance. Når Dyrene Drømmer ImdbThere’s also a telling moment when Thor is seen shaving the hair from his wife’s back in the bath. Also, when Marie’s nails begin to bleed as a further sign of her metamorphosis, she displays them proudly only to be shooed home by her father lest she offend the villagers. There’s a sense that Marie’s body does not belong to her and that there’s an expectation for her to conform to the way in which society expects her to appear. Arnby’s rather original portrayal of lycanthropy as a polarising illness (with the freedom of the wolf being on one side of the coin and the medicated, emotionless, helpless human on the other) is excellent and we’re aware, very early, that the villain of this piece is not of the lupine persuasion. The wolf in Mor and, later, Marie is something which is victim of persecution and, so say the masses, has a need to be kept firmly under control. The movie is crammed with ideas and presents the notion of heredity anxiety and the question of what manner of animal we will become in adulthood powerfully. It’s clear that the director cares about the ideas he’s infusing into his film, too, and we never feel exploited or let down. This is a film about teenage sexuality without, ironically, a wolf-like leer.
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