Te quiero para siempre

Enough has been said about the Dogme rules, and the many movies that have been made with the certificate. No matter if you like the concept or not, Dogme will always ad a great amount of realism into a movie. And in "Elsker Dig Forevigt"/"Open Heart" the realism is very strong. Probably stronger in any of the other Dogme-films I have seen.

Even more realistic the movie gets from the acting, which is outstanding. I found Mads Mikkelsen a bit under-achieving in the beginning, but as the drama gets more intense – so does Mikkelsen. He is Niels, the soft, modern, Danish family-man, who is as good with the kids as he is with his job. Other of Mikkelsen's parts has been very far from that, not least playing Tonny in Refn's "Pusher" and "Pusher II".

The wife of Niels, Marie, is well performed by Paprika Steen. Danish movies have had a reputation (in Denmark) that they are all dull, everyday-dramas with Paprika Steen in a leading role. "Elsker Dig..." has probably played a part in creating this reputation. It's not really fair, firstly because Danish movies are a lot more than that and secondly because Steen is really good. In "Elsker Dig…" she shows great dept in her acting, and in one of the best scenes in the movie Marie's 'house-wife-facade' breaks down, showing that Marie is a lot stronger than what you could have expected. It's a difficult scene, but Steen carries it out very well.

As the third corner stone of the triangle Sonja Richter is the young woman Cæcilie who's boyfriend Joachim (Nikolaj Lie Kaas) is severely injured, when he gets run down by Marie, driving a bit too fast. The performances by Richter and Kaas are as spotless as they are outstanding.

I have to comment on the children in this movie. It rarely works really well, because children aren't actors. But the teenage daughter of Niels and Marie, Stine (Stine Bjerregaard), has a lot to offer. She too has a big scene, again it works, and it's brilliant. The younger brothers, Gustav and Emil, works very good too. These kids aren't 'acting' they are 'living' their parts. Stop casting wonder-kids, and look this way!

This thing is normally not my thing. But still I rated this movie high – because it is a good movie. I generally like realism in movies (which I guess this review unveils) and that is 100% here.

I am not very much into dogma movies - but this one is really worth looking. As always, the danish acting is superb (by the way: can anybody explain me, why actors from Denmark are so convincing every time?) I also liked the open ending, which doesn't pretend to find a solution to a nearly unsolvable problem. Furthermore, the beginning was gorgeous. Susanne Bier presents her characters in slightly normal situations - but yet that charming and vivid, you just have to love the young couple. And so you also will suffer from the incident and its consequences for them. Another interesting aspect is, that there is absolutely no antagonist in this movie - and, surprise, surprise: you won't miss one! All the characters have two sides, are protagonist and antagonist at the same time - just like in real life!

A Bergmanesque study of a marriage that is turned upsidedown by one part mishap and one part momentary lapse of reason. What's provocative here, and makes for an intelligent and moving film, is the way in which the spurned wife (played with quiet dignity by the estimable Paprika Steen) doesn't dish up deserved revenge, quivering hatred or physical or mental violence. but, rather, offers an attempt to understand, to accept, and to hold the family together regardless. How rare is this? The line that stays with me - and it's a casual aside but one that cuts straight to the bone - is Paprika telling her husband's mistress that `we can't even afford' the new furniture he has lavished on her.

Once the film hits its groove, its DOGME origins are forgotten and we're left with intimacy and the thousand and one little tragedies that unfold on any given day of any given week. It could be said to be modest in scope, somewhat uninventive in form, and it does immerse itself uncritically in the middle class milieu (and in this respect, I would liken it to Moretti's `La Stanza del Figlio' - except that film does seem to express a suppressed distaste for Berlusconi's Italy), but there's an honesty and maturity that make it a valuable experience - particularly for any teenager used to a soap opera diet of hysterical marriage operatics. or for anyone still recovering from `Festen'.

At its best, and there's a frisson of that here, DOGME-95 has delivered fresh slices of life (or, to elaborate, privileges a panorama of personal battles against a recognisably familiar backdrop) - its Vows of Chastity whittling the camera down to something akin to a microscope.

This movie has a sober sense of tragic : It shows how life is fragile and uncontrollable, whether it is a young couple passionately in love hit by a terrible accident or a double-kid mature couple whose husband will be unfaithful to his wife. The cleverness of the story-telling lies in the fact that the two stories are highly intertwined and all through movie you find yourself recognising everything the characters struggle through. You want to judge them but you are left with you own guilt without any conclusion fro the film. The documentary-style and the dogme do not prevail over the meaning and even give some realistic strength to the beautiful acting. To sum up : a simple tale of two destinies where tragedy reveal our fragility and love can redeem guilt. (7 out Of 10)

We are living in a Golden Age concerning Danish films. One didn't think Susanne Bier would get into the Dogma genre, but there she is now.

This is really good. There's a loving couple, where the man is badly hurt in a car accident and becomes lame, with all the complications, also sexually of course, this means. It wasn't the driver's fault, but she feels guilty and her husband tries to comfort the girl. But the comfort goes much too far.

This is about big feelings, but Bier leads you right into them, without rushing away from you. The acting is absolutely brilliant, especially the plain virtuosity from Paprika Steen and Mads Mikkelsen. I've seen more than 50 films this year, but this might be the best one. Strongly recommended!