SPECIAL FEATURE: Film Review: Opstandelsen

Film: Opstandelsen
Running time: 50 mins
Director: Casper Haugegaard
Starring: Marie Frohmé Vanglund, Mads Althoff, Jonas Bjørn-Andersen, Roxanne Tirkov, Hans Maaløe
Genre: Action/Drama/Horror
Country: Denmark

This film was screened at the Grimm Up North Film Festival in October 2010.

Not many people these days will say ‘no’ to a zombie movie. This is partly because they are now so popularised and watered down that anyone can handle them. It would seem everyone is jumping on the zombie bandwagon, as Hollywood studios churn out countless identical zombie films, a cinematic parody of zombies themselves: vacant husks of films that never truly live, but still continue to play and spread like a disease through video stores and cinemas everywhere. Opstandelsen (or The Resurrection) is different. It is a new breed of fast paced, purebred modern zombie film that has much to offer the jaded viewer. So, no surprise to discover that it won the award for Best Low Budget Film at the Grimm Up North Festival this Halloween.

The story starts with a family who have gathered in church for the funeral of Simon. However, it isn't long before the dead are rising from their graves - and feasting upon the mourners.

Simon’s two brothers, Peter and Johannes, fight for survival, trying to escape the horde of living dead that chase them through the churches catacombs, whilst, at the same time, facing up to the issues they have with each other…


Only a country as liberal as Denmark could produce a zombie film that’s shot on location in a real church - and have the real life church’s vicar play himself! This film, being set in a church, features tons of religious symbolism, which will no doubt anger church groups around the world. For some, the very idea that such evil could penetrate holy ground is blasphemy. However, there is a bit where a cross is picked up and used, axe fashion, to fight off zombies. Surely this holy weapon’s effectiveness is a testament if anything to the power of divinity and faith?

Although I think any such discussion is a moot point, since this is very much a postmodern movie, which isn’t trying to be clever beyond the point of its face value and aesthetics. It simply presents genre fans with a great premise, which they are usually denied: ZOMBIES IN A CHURCH!

As you can imagine, this leads on to lots of gory moments which are pulled off brilliantly. The initial kick off during the funeral is very intense and nothing less than a bloodbath. One particular gory highlight is when a man gets trapped under a door that is barged down by a crowd of the undead. This is perhaps a reference to Romero’s original Day Of The Dead, where a very similar scenario arises, although, impressively, this particular sequence manages to top even Romero by conjuring a horrific yet prolonged death.

Being only fifty minutes in duration and full of action, there is little time for a complex plot in Opstandelsen. However, characterisation is still present, and develops through the back story of the two brothers. One is a drug addict, who has caused the family much grief in the past, and being thrust into this heavily confining situation forces them to settle their feud, which proves to be too great to be put aside. Mads Althoff and Jonas Bjørn-Andersen both manage the action and the family drama capably, with some truly touching moments of fraternal bonding.

When asked why the film was only fifty minutes in length, director Casper Haugegaard explained, “We didn’t plan it that way, we just had a script to shoot and we shot it. Fifty minutes is what came out.” This unusual running time has caused the film some issues when being shown at festivals, since it is neither a short nor a feature. However, the relentless pace of the movie would be difficult to maintain for a full feature without it becoming tedious, and there is too much to cover to fit in to a shorter movie. Fifty minutes really is the happy medium in this case.

The film achieves the rapid pace and claustrophobic atmosphere by several means. Some may compare Opstandelsen to The Blair Witch Project, due to its heavy use of hand-held camera. In fact, the camera is constantly in motion throughout the film. As much a stylistic choice as a result of shooting entirely on location, there are few long shots. Most of the footage is very close and restrictive, giving rise to a rational fear of that which is off camera. Every sound makes us want to look around and check for danger - we feel we are watching from our own POV as the suspension of disbelief takes hold.

Unlike most zombie films, the editing style is almost entirely montage. At times, the edits fly thick and fast, particularly when the action warrants it. When our heroes are at rest (as much as they can be given the situation), the edits are more sparse, leaving us with lingering ‘calm before the storm’ moments. The editing almost replicates the heartbeats of the characters on screen, drawing us in to share their state of mind.

The other element at play is the lighting, which varies greatly from brightly lit white walled rooms to dark dingy tunnels with very minimal lighting. The terror is either perfectly illuminated, or left to our imaginations to fill in the gaps. With these two, approaches working in tandem, as well as the rapid editing and tight, claustrophobic camerawork, there is little rest for the viewer.


If you like your zombie films to be true horror films that scare, excite, thrill and disgust then this is the film for you. If you feel that mainstream horror lets you down time and time again, always falling short of the adventure you sat down for, and sitting on the fence instead of getting in your face and challenging you, then Opstandelsen is your saviour. If you’re not that bothered about such things, then it’s pretty cool because it has zombies in a church! DOB

SPECIAL FEATURE: Trailer: Cinema Release: Into Eternity

English-language release.

Film: Into Eternity

SPECIAL FEATURE: Cinema Release: Into Eternity

This is an English-language release.

Every day, throughout the world, large amounts of high-level radioactive waste created by nuclear power plants is placed in interim storages, which are vulnerable to natural disasters, man-made disasters, and to societal changes; constant surveillance, security management and maintenance is required.

In Finland, the world's first permanent nuclear repository - Onkalo - is being hewn out of solid rock - a huge system of underground tunnels that must last at least 100,000 years. Onkalo is a Finnish word for hiding place. It is situated at Olkiluoto in Finland, approximately 300 km northwest of Helsinki, and it is the world's first attempt at a permanent repository. Work on the concept behind the facility commenced in 1970s and the repository is expected to be backfilled and decommissioned in the 2100s – more than a century from now. No person working on the facility today will live to see it completed.

Once the waste has been deposited, and the repository is full, the facility is to be sealed off and never opened again. But how to ensure that? And how is it possible to warn future generations of the deadly waste left behind? How to prevent them from thinking they have found hidden treasure, burial grounds? Which languages and signs will they understand? And if they understand, will they respect the instructions?

While gigantic monster machines dig deeper and deeper into the dark, experts above ground strive to find solutions to this crucially important radioactive waste issue to secure mankind and all species on planet Earth, now and in the near and very distant future.

Captivating, wondrous and extremely frightening, this feature documentary takes viewers on a journey never seen before into the underworld - and into the future.

Film: Into Eternity
Release date: 12th November 2010
Certificate: E
Running time: 75 mins
Director: Michael Madsen
Starring: Timo Äikäs, Carl Reinhold Bråkenhjelm, Mikael Jensen, Berit Lundqvist, Wendla Paile
Genre: Documentary
Studio: Dogwoof
Format: DVD
Country: Denmark/Finland/Sweden/Italy

REVIEW: DVD Release: Festen

Film: Festen
Release date: 13th October 2008
Certificate: 15
Running time: 100 mins
Director: Thomas Vinterberg
Starring: Ulrich Thomsen, Henning Moritzen, Thomas Bo Larsen, Paprika Steen, Birthe Neumann
Genre: Crime/Drama
Studio: Metrodome
Format: DVD
Country: Denmark/Sweden

There is a recognised syndrome human beings have called 'car crash syndrome'. If you pass the scene of an accident, or witness one happening, even though you shouldn't, you can't help but look. Some films are car crashes without meaning to be, whilst others are carefully directed so that you can never look away from the screen. Festen, Thomas Vinterberg’s award-winning Dogme ’95 film, is of the latter.

Have you ever been to a family party? Relatives you only see once a year asking about your career, your marriage, your health. This is a tedious task on any occasion, but what if the party you were going to was a traditional upper-class Danish birthday party?

Christian, Michael and Helene are all grown-up children of wealthy upper-class Helge, who has summoned them and the rest of their large family to his home to celebrate his sixtieth birthday.

Rather than the quiet pat on the back and sing-song he had hoped for, Helge gets a nasty surprise from Christian, as the film deals with the fallout from a massive family secret being unearthed.


Festen was critical to the Dogme '95 movement in cinema. A group of directors tired with glossy Hollywood productions decided to strip back film, thus creating "true cinema.” The belief was that without special effects your script would be bare, and therefore better. It is hard to argue with the movement once you have watched Festen, which has one of the most original plots to any film. Following strict rules (and a declaration Vinterberg signed to ensure he stuck to them), Festen lacks a soundtrack, studio lighting, props that were not already on set, and any camera tricks. Instead, it relies on a gripping story and meticulous script to carry the film - full of suspenseful silences and believable human interaction.

From a technical point of view, Festen does a good job of using whatever comes to hand in order to get the intended shot. Because of his declaration that he would not use any special effects, Vinterberg had to come up with other ways of conveying what he wanted to the audience. The film sometimes deals with a ghost that may or may not be haunting the house (shots filmed through rippled glass, and only lit by candle light), whilst the credit sequence, accompanied by a music-box, gives an wonderful, otherworldly feel. Trying to figure out how the director pulled off some of his more elaborate effects is one of the joys of a film that implores repeat viewing.

The film has an eerie calmness throughout. The setting of rolling hills and forests of the Danish countryside, and the suppression of any real emotion that comes with an upper-class upbringing, make scenes almost serene - particularly one that follows a bird flying above the house, a perfectly quiet shot without any music, allowing for a tranquil moment despite the chaos roaming below.

Festen is classed as a drama, but it would be fair to say there is a lot of black comedy on offer, too. Often laughing at the human reactions of the guests at the party is the only way to cope with the very real ongoing trauma that the protagonists are going through. A lot of the comedy comes from the party guests - their trivial conversation and griping about the weather is welcome relief from the tension of the dinner table.

The acting for this film is impeccable - the mannerisms and believability of the characters are faultless. Whether it's Christian's stiff, tense stance throughout the film, or Helene's powerful breakdowns, you become fully immersed in their feelings and fears. Worth paying real attention to is Michael, who switches from likable buffoon to maniac at the flick of a switch. He also provides many laughs throughout the film, acting as additional comic relief.

The one fault with Festen that has come to light is the bad translation in the subtitles. They have never had a reworking since the film's release in 1995, and some of the dialogue is incorrect – you have to look past the occasional weird comments that make no sense.


Unconventionally filmed, Festen has deservedly won multiple awards for its innovative and the director’s courage, whilst unlike other Dogme films, it is never hard going or self-indulgent. RC

REVIEW: DVD Release: Festen

Film: Festen
Release date: 13th October 2008
Certificate: 15
Running time: 100 mins
Director: Thomas Vinterberg
Starring: Ulrich Thomsen, Henning Moritzen, Thomas Bo Larsen, Paprika Steen, Birthe Neumann
Genre: Crime/Drama
Studio: Metrodome
Format: DVD
Country: Denmark/Sweden

Festen was the first film released following the Dogme 95 ‘vow of chastity’ – a list of rules for directors to follow when making films. The rules included technical restrictions (cameras to be low quality and handheld, no sound or music to be added in post-production) banning of excessive action, and not allowing the director a credit. The whole Dogme movement aimed to reduce cinema back to its simplest and most beautiful origins.

The film opens with the Klingenfeldt-Hansen family making their way to the family run hotel for the festivities. We are introduced to each family member on their arrival – Helge (Henning Moritzen) is the father, whose 60th the family has gathered to celebrate. His children consist of Christian (Ulrich Thomsen), the quiet and distant eldest son; the volatile and manic Michael (Thomas Bo Larsen), the youngest; and Helene (Paprika Steen), the fiery and confident eldest daughter.

Also mentioned in conversation is the recently deceased youngest daughter, Linda, who committed suicide seemingly without motive, and for whom the family are still mourning. Helene visits her late sister’s room and finds a note. Michael has a violent and sexually charged argument with his wife over misplaced shoes, and Christian is re-acquainted with his childhood sweetheart, Pia (Trine Dyrholm).

The evening celebrations begin normally enough – catching up with the relatives, then a lovely sit-down meal, too much wine and clichéd speeches. Then everything changes when Christian stands to make his speech. He makes a horrifying claim about his father that sends the party into uproar. He is then promptly ejected from the party. We spend the rest of the film searching for the truth – are Christian’s claims true? And why did Linda commit suicide?


Festen shows you dark family drama at its very best. Thanks to Vinterberg’s down-to earth screenplay (which is so natural, it appears improvised at times), we instantly warm to the characters, and can quite easily relate to them and what they are going through.

The film is a truly immersive experience (largely due to the low-grade quality of the film, in compliance with the Dogme 95 rules) – it looks like a home video, and through watching it you really feel like a member of the family (like you’re taking part in the festivities).

Be warned - Festen is by no means a comfortable viewing experience. Emotions run high throughout, and the dark family secrets revealed are truly shocking. Each revelation feels like a punch to the stomach, and just when you think it could never get worse, it does.

High quality acting is on show, both from the veterans (Henning Moritzen has been acting since the ‘50s) and the novices (it was one of Paprika Steen’s first major film roles), and they all bring a little extra something to their characters. Of particular note are the actors who play the siblings – Ulrich Thomsen manages to bring across the tragedy and deep-rooted emotional scarring of Christian; Thomas Bo Larsen gives Michael just the right level of unpredictability and menace, while at the same time showing his unquestionable loyalty to his family; and Paprika Stern is captivating as the strong, independent woman amongst a family of flawed men.

The Dogme 95 rules that Festen follows (at least most of the time) will most definitely divide audiences. Your view of the whole film may entirely hinge on whether you see the vow of chastity as being restrictive or liberating, as overtly pretentious or refreshingly simplistic. Some of the Dogme rules could seem a little silly to some – the cast, in theory at least, have to provide their own costumes (though the Festen crew did allow a cast member who did not own a tuxedo to borrow one), but others achieve interesting effects within the film. For instance, a scene with Michael and his wife in their hotel room required a swooping, high angled shot, and since the Dogme rules prohibited the use of cranes or steadicams, the cameraman attached his camera to the end of a mic boom (which, amusingly, can be briefly seen in a mirror in the room). The film also required cast members themselves to film some scenes (such as the dining room scene, which otherwise would have been too awkward to film in such a confined space).


Whether you’re a lover or a hater of Dogme, Festen will take you on an emotional rollercoaster that engages you to the very end. In an age of big-budget, high concept filmmaking, it makes a nice change to watch a film so stripped down, yet so immensely satisfying. SSP

SPECIAL FEATURE: DVD Review: Dancer In The Dark

Film: Dancer In The Dark
Release date: 17th September 2007
Certificate: 15
Running time: 134 mins
Director: Lars von Trier
Starring: Bjork, Catherine Deneuve, David Morse, Udo Kier, Peter Stormare
Genre: Musical/Drama
Studio: Film4
Country: Denmark/Germany/Netherlands

This is an English-language title.

“Emotional pornography”: that’s how Bjork labelled von Trier and his methods after collaborating with him to make Dancer In The Dark. The film may not be as intrepid as his more recent Antichrist, or as controversial as The Idiots, but those emotionally pornographic moments won von Trier the Palme d’Or at 2000’s Cannes and earned Bjork her own award in recognition of the poignant performance von Trier drew from her.

The Icelandic singer plays a Czech mother settled in Washington State with her 12-year-old son. Selma is hard-working but destitute, and the two of them live in a caravan at the bottom of their landlord’s garden. Selma pays her way by working in a dreary factory by day, and eventually by night as well.

Whilst things are far from rosy for the single parent family, there is nothing particularly remarkable about them either. Selma is shy and inoffensive, and faces the same challenges any mother does. Gene’s birthday is coming up, for instance, and it’s no surprise that he asks for a bicycle. Already an outcast amongst his classmates, he simply wants to fit in with his peers like any school boy. Selma desperately tries to make him understand that she simply cannot afford it, but when her policeman landlord treats Gene to his dream birthday present, she naturally expresses an awkwardness that we may well empathise with. Aside from the unwanted interest of Jeff, Selma has very little to break the monotony of life, and this is why she turns to the fantastical musical numbers that are scattered throughout the film.

The motivation for Selma’s relocation is revealed a little later in the film and it immediately pulls at the heart strings. The true meaning behind Selma’s work ethic lies with her son, who is destined to lose his sight, just as Selma herself does over the course of the film. Only in America can an operation be performed to prevent the illness from progressing in the blissfully ignorant Gene, who has been protected from the truth by Selma. The money that she has worked so hard to earn is stashed away for the operation, but her fading vision means that she unknowingly loses it, and her son faces the same fate as her.

Determined to save her son at any cost, Selma is intent on finding her money. When she discovers the perpetrator, a familiar acquaintance who should know better, she stops at nothing to get her funds back. Her actions lead to a clash with the law, and she eventually faces the ultimate dilemma: her life or her son’s health…


Not the most obvious choice of story for a musical, Dancer In The Dark manages to mix heartbreak with song and dance. Whilst the majority of the film is shot in von Trier’s typical grainy, handheld style, with extended use of close-ups and lengthy dialogue, the musical numbers are an effort to break from the director’s usual aesthetic and experiment with Hollywood.

The very reason the film works as a musical is the sentimental sense of escapism offered to Selma through these vibrant numbers. Accusations of von Trier’s anti-American bias may be valid in other parts of the film, but these musical moments are a conscious acknowledgement to Hollywood’s Golden Age. Von Trier also draws from operas of the past and in interviews, such as the one included in this DVD release, he has referred to the profound impact they used to have on audiences. This is what he wanted to recreate with Dancer In The Dark, and this is what he accomplished. When the story plods past the introductory phase and picks up in the latter half, emotions heighten and an almost unbearably tense climax is reached.

Although Bjork has cleared up any rumours that she is yet another singer-turned-actress wannabe, her award was well-deserved. She presents us with a character so honest and endearing that the viewer cannot help but root for her throughout the entire film, even in those very human moments where her sheer stubbornness prevails. After all, that stubbornness is not for nothing: it is a symptom of her determination and devotion to her son. Supported by a cast of naturalistic actors who are clearly comfortable delivering performances about real life using improvised dialogue, Bjork gives a fantastic representation of a struggling, but single-minded woman.


A harrowing film about the lengths a mother will go to for the sake of her son, Dancer In The Dark is an experience that no one is likely to forget in a hurry. Hindsight is a wonderful thing, but with its benefits, it is safe to say that it certainly was worth risking Zentropa studios to make this masterpiece. Don’t expect to come away dry eyed. RS