King's Land

In 1755, retired soldier Ludwig Kahlen (Mads Mikkelsen) decides to attempt the impossible - to cultivate the Danish Heath. This is a bleak and infertile wilderness which produces nothing but gorse and heather (though there are forests nearby, for some reason). He hopes to win honour and renown thereby.

Kahlen builds his house, and collects a motley crew of workers, including a priest, a pair of runaway serfs, and some lawless folk akin to gypsies. He sort-of adopts a gypsy girl. With much labour, he clears some land, then unveils his secret weapon - the potato.

Unfortunately, he runs foul of a sadistic local landowner (a wonderfully sinister performance by Simon Bennebjerg), who considers himself above the law and has no problem with violence.

The film follows Kahlen through one growing season, at the end of which his feud with the landowner reaches a bloody climax.

The epitaph on screen seems to suggest that this is based on a true story, but I don't know if that's the case.

The performances are excellent throughout; the landscape is compelling, and the cinematography superb.

This was a surprisingly good movie. I've been disappointed by quite a few period drama pieces from the last years, so my expectations going in were not very high, especially given the description of it being "Western set in 18th century Denmark". But going out of the theatre I had to admit that I had a near perfect cinema experience. The movie was beautifully filmed with nearly each frame being a work of art. The acting was superb and the characters were interesting and well-developed. Mads Mikkelsen was stellar in his role, and I loved Ann Barbara, Anmai Mus and the priest. Simon Bennebjerg was great as the unhinged, but charismatic Frederik de Schinkel. The plot wasn't particularly original, but it kept you invested in the story, and was logical and well-rounded and the ending left no loose threads. The love story was compelling without being overly dramatic - because most love stories aren't! Another reviewer commented that it felt unnatural to him but to me on contrary it felt very realistic that these characters would seek out each other's warmth and comfort in the circumstances they were placed in. Other parts were well-balanced too - it had just enough blood and fighting and torture scenes to get the story across, but none just for drama's sake. The movie borrowed a lot of elements from the Western genre, but it felt authentic and in no way like a Hollywood clone. All in all, it was fantastic, well rounded film and a great cinematic experience.

Possibly one of the most engaging and powerful European movies of the year. Great storytelling, acting, directing, cinematography, art direction, costumes, make up.

This film uses all the tools of the western genre. Wide landscapes, settlers developing harsh lands, the fight against greed, injustice, cruelty and impunity of the ruling class, a stubborn loner who learns to follow his heart and old vs. New technologies, in this case agricultural, settlers fighting rich landowners, racial prejudices and of course a showdown with a powerful obligatory scene.

For the longest time I have been waiting for a period piece set in Europe with the look and feel of epic westerns. There have been a few efforts so far and they all failed on me in one part or another. This one could be leading the pack. Do yourself a favor and go see it on a very, very big screen.

Anchored by an emotionally arresting performance from the ever-reliable Mads Mikkelsen, The Promised Land (Bastarden) employs the expansive canvas of an epic to narrate its small-scale, intimate human drama and expertly balances the heartwarming with the harrowing to deliver a consistently engaging Jutland western. The story at its core is about family & togetherness yet brewing beneath the surface is an escalating tension that often unleashes scattered scenes of violence when the ambition of a nobody collides with the greed of a madman, thus making this steadily paced & brilliantly crafted Danish historical drama one of the better surprises of 2023.

It is 1755, and Danish Captain Ludvig Kahlen has just left the army. He approaches the Royal Danish Court with a proposition: he will attempt to build a settlement on the barren Jutland moors in exchange for a noble title. It is a task considered impossible, and though his deal is accepted, the Court thinks nothing will ever come of it. Out on the moors, Kahlen battles the environment, as well as bandits and the machinations of the sadistic local magistrate Frederik Schinkel, in an attempt to realize his dreams.

Directed by Nikolaj Arcel and based on a novel by Ida Jessen- which was, in turn, very loosely inspired by real life characters- 'The Promised Land' is an engrossing, engaging film both powerful and poignant. Arcel's screenplay- written alongside frequent collaborator Anders Thomas Jensen- tells a fascinating tale that offers insight into Danish history, while also functioning as a character study and a compelling drama to boot.

It is a movie that works on many levels, balancing drama with comedy and violence with silence. The narrative- although lumbered with an unnecessarily protracted ending- is strongly written, subtly exploring themes like the cost of ambition and the importance of family. The film presents Kahlen as a complex man who can't see the forest for the trees, so to speak. Over the course of the picture, he undergoes a change of character, realising that there are other aspects to his life he should dedicate his time to, other than his pursuit of dominance over the inhospitable moorland.

Kahlen is reminiscent of other singularly focused cinematic creations, such as the titular characters in Werner Herzog's 'Fitzcarraldo' and Sam Peckinpah's 'The Ballad of Cable Hogue.' Like those two resolute men, he strives to realize his dream in the face of terrible opposition. His perseverance, his assurance that the impossible can be done, makes him a compelling character, while his stoic nature makes him both enigmatic and intriguing.

Toiling through the seasons, tearing up the tough earth of the moors, Kahlen struggles to make any headway, even with the help of a couple, Ann Barbara and Johannes, as well as Anmai Mus, a Romani girl he reluctantly takes into his care. Meanwhile, the villainous Shinkel, who has his eye on the moorland, turns from an irritant into an obstacle Kahlen cannot get beyond. All these characters are well-drawn and believable, with their own arcs and backstories. Although the exploration of Kahlen's personality and ambition is the core of the story, Arcel and Jensen have created rich secondary characters for him to interact with; making the film utterly gripping.

It is a visually evocative affair, boasting atmospheric cinematography from Rasmus Videbæk. By using an aspect ratio of 1.66:1, Videbæk gives the film a wide, epic look, making the most of the rugged Danish landscape; compounding the harsh isolation of the Jutland moors. His use of close-ups heightens the drama of proceedings, while his utilisation of tracking shots- notably during a nighttime raid on a band of thugs- adds tension and suspense.

Moreover, Jette Lehmann's production design is detailed and evocative, creating a period-accurate setting, while Kicki Ilander's costume design contributes to the narrative and its characters astutely. Her juxtaposition of the rich fabrics Shinkel parades around in, compared to Kahlen's simple outfits, accentuates the cultural, societal gap between the men. Additionally, Dan Romer's muted score is stirring, never dominating scenes; complementing them instead. Although Arcel and editor Olivier Bugge Couttélet let proceedings go on a tad too long- there is a natural end point that is followed by an unnecessary extra 25 minutes, an epilogue of sorts- the film has a steady pace as deliberate as its central character.

Mads Mikkelsen stars as Kahlen, opposite Amanda Collin as Ann Barbara, Melina Hagberg as Anmai Mus and Simon Bennebjerg as Shinkel. Mikkelsen demonstrates his incredible talent for saying volumes through the smallest expression or gesture, without the need for words. A nuanced, charismatic performer, he is terrific; his subtle, multifaceted performance again lends credence to the notion that he is one of, if not the best actors around today.

Collin does similarly sterling work as Ann Barbara, delivering an understated and powerful performance full of depth and wit. She shares a fine chemistry with Mikkelsen, while Hagberg- in her first role- is wonderful. Feisty and funny, she has a strong screen presence, working brilliantly with her co-stars- especially Mikkelsen. They share a few scenes full of emotional power; and she impresses greatly with her natural, unostentatious performance.

Bennebjerg creates in Shinkel a villain for the ages, a sadistic cad full of pomp and vanity. Although the character is fairly cliched, Bennebjerg plays him so well one forgets this. Slimy, slick and sinisterly funny; he cannot be faulted. Additionally, Thomas W. Gabrielsson and Jacob Lohmann are both brilliant as Shinkel's right hand man Bondo and Trappaud, an associate of Kahlen's. Furthermore, Kristine Kujath Thorp is commendable in the role of Edel Helene, a noblewoman betrothed to Shinkel who wants to escape his vile clutches.

In conclusion, Nikolaj Arcel's 'The Promised Land' is an engaging epic, a character study and a moving drama all in one. With a strong screenplay examining interesting themes, witty, minimalist dialogue and well-drawn characters, the narrative consistently engages. The cinematography and production design are striking, while the score is subtly powerful. Boasting strong performances from all in the cast- led by the incomparable Mads Mikkelsen- 'The Promised Land' is a fascinating tale about a conquest of the useless that one wouldn't want to miss.