Reseñas de usuarios

"Reconstruction" is overt about its style from the first minute when a deep-voiced narrator cautiously introduces the audience to the story and the narrative form. From then on, and until the narrator returns at the very end, we are cast into a complex and difficult drama set in a big city environment filmed in stunning craft and style. Copenhagen has rarely been seen as interesting, and in an odd sense charming, as here.

This is not an expensive film - the Director's Cut entity behind the film was designed specifically to produce good films on even lower budgets than are the norm in Denmark - but its appearance is delightful and intriguing with its sometimes bright, sometimes dark and often grainy cinematography, additional effects of occasional written identifications of characters and locations, and classic-style title design.

The story sees a young man captured by the meeting with a woman different than, but resembling his usual girlfriend, and struck by existential doubt when he finds himself a stranger to those he thought he knew. The plot is impossible to grasp completely, at least at first sight, but sufficiently immediate for the beholder to like it and be taken in by it. To me, the lack of answers is a bit over the top and causes me to cut my IMDb rating for the film to 8, but with the strong support for David Lynch films and other similar works in recent years I am probably in the minority on that point.

Danish Nikolaj Lie Kaas and Swedish-Norwegian Maria Bonnevie are both extraordinary, Kaas in the antagonist role of Alex and Bonnevie in a rare double part as the different, but similar Aimee and Simone. A repeated scene in a bar in which Aimee and Alex meet is a particularly fine example of the precise and strong performances. The fine Danish actors Nicolas Bro and Malene Schwartz are the most noteworthy of the additional cast.

Ambition is Christoffer Boe's middle name, but he lives up to any and all expectations Danish experts may have had to him since he graduated from the National Danish Film School in 2001. He has already been compared to another renewer of Danish film, Lars von Trier, and while I am reluctant to compare this first-time feature director to an established international star, I do think "Reconstruction" bears a stronger sense of place through its use of locations and the plot's connection to them, a superior depiction of relationships between people, and sometimes simply a more profound joy of storytelling than in any of Trier's work.

"Reconstruction" was an excellent movie. Some have renounced it for its little tricks. Shame on them. While the little tricks themselves weren't impressive, they contributed to the film's ideas. Maria Bonnevie was enchanting. Interestingly, when I left the theater, I felt as though I knew (and perhaps loved) Aimee even though she was a construction, a fiction about whom next to nothing was revealed. In this manner, Alex and I bonded although there is no Alex. This movie was something that viewers can feel. I loved the skepticism. I enjoyed belong dazzled by the beauty only to have it taken away. Was it ever there? There is an honesty in "Reconstruction" that is rare in cinema. This movie wasn't especially subtle in its nihilism, which was fine. Anything more subtle would have been wasted on many, maybe even me. Who knows?

Is this a true, fictional narrative, or is it the figment of the fictional writer's imagination? If that sounds contradictory, then it gives you some inkling about the substance – or lack thereof – of this most confusing and yet most intriguing film.

Is this a film about filming a narrative? Is it a film about two narratives – one real fiction, one imaginary fiction? Or, is it simply a film designed to act as a metaphor for the total uncertainty about human relationships? Perhaps, it's all three... or simply an illusion?

As it unfolds, we meet a very confused young man, Alex (Nikolaj Lei Kaas) who seems to be in love with the same woman who exists in two different realities and, yet, who co-exist in the same city. On the one hand, Alex is associated with Simone (Maria Bonnevie) definitely and yet, he meets another woman, Aimee (again, Maria Bonnevie), who looks exactly like Simone, in another part of town.

Whereas Simone is definitely single, Aimee is apparently married to August, a writer who is in town to give some lectures on the art of writing. At the same time, August is also trying to finish his novel that is a love story, but he's having trouble trying to decide what "the young man" of his story should do – and he tells Aimee about his dilemma while they sit in their hotel room.

So, while August is discussing the progress of his narrative with his publisher, Monica (Ida Dwinger), young Alex is roaming all over the city trying to understand how it is that both women appear to know him for some of the time, and at other times, he appears to be a stranger to them. Frantically, he rushes from café, to a bar, to a restaurant, to another bar, desperately trying to come to grips with his concept of his reality – which, oddly enough, doesn't appear to jive with the reality of anybody that Alex thinks he knows...

Totally confused now? Well, you should be, because I think Reconstruction is an experimental film that tries to show just how confusing every person's sense of their own reality must be – not only for each person, but to others around them also.

You think you really, really know your girlfriend, your wife, your boyfriend, your husband, your lover? This film, I think, forces you to reflect (no pun intended) upon that existential problem, a very real problem for every living person, whether or not we know it. The camera work is also experimental, and some of it is quite original in its construction. You'll know what I mean when you see it – that is, if you're prepared to watch it.

Definitely not a film for action fans or the 'braindead'.

I saw this movie at the London Film Festival, introduced by Boe the director and the beautiful Bonnevie, the lead actress. Boe is a graduate of the Danish film school and, as you might expect, the film is packed with movie references from Bergman to Hitchcock via Lynch. I hope the movie picks up a UK distributor as a second viewing is needed to understand the movie fully. On one viewing alone, this is an intelligent, intriguing and thought provoking movie with an excellent sense of time and place (Copenhagen, the present, even though no-one seems to have a mobile phone!), clever cinematography and editing and good performances. Boe creates a vision of Copenhagen as a labyrinthine, alien jungle where your front door may disappear and your friends have never seen you before.

Highly recommended

It took me nearly 15 minutes to get into this movie. But (gladly!) once it grasped me, there was no turning back. This is an 'existential angst' inspired masterpiece; a movie with more questions than answers. And, it was also a movie that, quite frankly, I wished hadn't ended so soon. Yes... I definitely enjoyed it that much! 'Reconstruction' was as psychologically perplexing as it was beautifully haunting. And I now find it hard to fault it. So... I won't.

However, as is the case with most of the movies I adore, I doubt that all people would concur with my estimation. That being said, it would definitely appeal to someone who enjoyed Memento; or maybe even Irreversible.

The core theme explored in this movie is that of knowing oneself and those close to you: Appearance versus reality. The true existentialist never finds profound comfort in the purportedly comfortable. For there are often surprises to be found on deeper reflection... I shall say no more. But if you've just digested a couple of chapters of 'Being & Nothingness', I could think of few better ways to further lose yourself in the problems of the mind and existence, than to watch this film afterwards.

The acting, screenplay, direction, score, filming and production all very much made the grade. Overall, Reconstruction is a psychologically challenging movie that any thinker should profoundly enjoy (once, that is, one gets into the psychological mysteries which unfold). Albeit, to paraphrase another reviewer: the intellectually challenged, and/or those who need all questions resolved in any movie, should hastily move along to another film.

"Reconstruction" is a clever, European take on "Unfaithful" where an older husband uses literary intellect instead of violence to attempt "The Revenge of the Cuckold."

But we have no idea how much is real or imagined or roman a clef or the character of the author is identifying too much with his alter ego, as we are told from the outset that what we will be seeing is the magic of the storyteller or puppeteer, watching as he manipulates his characters, trying out different situations in different drafts of a novel, erasing and playing out different scenarios of chance and choice, where art replaces the memory science of "Code 46."

I don't think I was the only audience member, however, who was rooting instead for the tall, dark, handsome young man as Nikolaj Lie Kaas has captivating chemistry with Maria Bonnevie (and I feel really foolish that I couldn't tell from either the film or the Danish credits until I looked at the IMDb listing that she plays both the jilted girlfriend and the adulterous wife).

The author makes some lame justifications about women needing love and men accidentally falling into it, or some such, that doesn't quite make sense and the film is supposed to be illustrating the point that a man has to learn about hurt as a price to be able to love. The author's self-understanding I suppose is illustrated by him reading his book's dedication to his wife in a desperate plea for her to forgive him all his inattention, etc. as he needs her for his art, so she shouldn't look for passion elsewhere.

But we're left more with the very powerful visuals of the different versions of how he imagined her possible affair could have started (a la "Brief Encounter") and its ramifications or concluded, and the feeling that the older guy was a smug deus ex machina.

In the things one can learn from the movies department: we also get a nice tour of Copenhagen-- people can smoke anywhere, even on the subway, and do, constantly; restaurant bathrooms have real terry cloth towels; the Hilton is really luxurious; Danes and Swedes don't seem to exchange cell hone numbers; and, like in "Italian for Beginners," Danes seem to think of Italy as the place to go for romance.

Grainy flicker. A smoking man comes on the screen. He performs a piece of legerdemain with his cigarette. Soft, hypnotic voice-over in Danish. "It's just a movie. It's all constructed. But it hurts anyway." Lars von Trier's cinematic creed? The voice of God? The opening scene, I think I have seen it before. I know I *meant* to see the movie at a recent festival, but I also know that I didn't. Maybe on TV? The next scene, it's set in a hotel I think I know. I do! It's the Copenhagen Airport Hilton. I have stayed there, traveling for work. As I walk out of the theater, Cole Porter playing over the closing credits, I see a blonde girl in pointed boots who is the spitting image of Maria Bonnevie, Christoffer Boe's lovely leading lady. She tries to talk her boyfriend into taking a cab, what with the rain and all. It's that kind of movie.

It took me quite a long time to figure out what I thought about this movie, and it seems that I have come to the conclusion that this movie is more about the experience of watching it. The plot is very abstract and I find it very hard to believe that anyone completely "got" the film. However while watching the film this doesn't seem to matter, you're enthralled. In the end i was left with a lot of questions and it led to some interesting discussions, but what really struck me and stayed with me was the beautiful imagery, the sights sounds and mood of the movie. In this sense the film is almost haunting. Anyway I would have to recommend and perhaps a second viewing would clear things up for me. As a sidenote the acting all around was superb and the two lead actors were enchanting.

An enjoyable, well shot (and very well acted by Marie Binnevie in a double role) mind game of a film.

It doesn't add up to much emotionally, but it stays pretty fascinating most of the time, as young photographer Alex is repeatedly drawn into an affair with the same woman, only to find reality changing, and that she suddenly doesn't know him. The same with other people in his life. And then suddenly they DO know him again, but seem to see him with new eyes.

There's a strong suggestion that what we're seeing is a story being reworked (reconstructed) by a writer, a fantasy that the woman's older husband has in his head.

A lot of critics were harsh on this (though a few loved it) for being film-schoolish and deliberately obtuse. I can't argue. But I still can't say I didn't enjoy it's mysteries.

First things first: I find pointless to summarize the plot, therefore I'll stick to my own thoughts about it.

Grainy fade-outs, near-flawless performances, mind-gripping in its non-linear simplicity plot, endless possibilities (if you are prone to indulging in analysis) and a precise, clean-cut overall aspect- are all there, in Boe's beautiful, if slightly formal, first long feature.

This film dodges, quite effortlessly, the one major shortcoming (if you ask me)of Last Year In Marienbad, to which it has been compared; unlike the former, Reconstruction manages, through unmistakably warm-bloodied and wrapped in smoke actors'performances, to surpass the cartoonish, slightly de-humanized concept that pervades Resnais's (i dare utter the word) masterpiece. In other words, the characters are a significant little more than archetypes, they are individuals. Subsequently, the three A's (Alex, Aimee-stunning Marie Bonnevie- and August) stir vaguely-rooted emotions in the spectator, aided by the 3-dimensionality of their acting and enhanced by innumerable, purposeful close-ups and near-perfectly-fitted music.

The intelligent rather than inventive script receives "thumbs up" not for itself but for its glossy, yet not sultry, rendition by often unbearably beautiful shots. Also, the demure approach to sexuality speaks volumes about the power of the camera&actors unity to suggest powerful feelings.

The coherent-enough story (don't let yourselves taken in by deceptive ambiguity) escapes down-and-out moronic de-constructivism for its own sake, allowing thus the average movie-goer to suck the film in, irrespective of his cultural background.

Although data about the characters arrives in dribs and drabs, the film is carefully plotted and succeeds in keeping the spectator's interest up till the end. August, in spite of apparent filmic omnipotence, is bare-handed against the efficiency of tender, scintillating and dizzying love story; the real puppeteer is the director, through his double, the cigarette-levitating, literal charmer, who pulls the strings in this bittersweet faerie. So, once you've learned the ropes of his editing choices and non-linear story ( the 3 possibilities/photos the woman has and other details), which require at least one viewing, Reconstruction becomes more than a feast for the eye. It allows a sensitive insight into a terribly fragile dreamlike world: Orpheus is supposed never to doubt the flesh-and-bone unseen certainty of being followed by Euridice on their way out of the Inferno. The visually enticing, effective portraying of Alex and Aimee's every movement offers precious glimpses of their innermost thoughts.

Speaking flaws, a restraint from taking risks in points of frame composition (aka predictable angles, never going off the beaten track) is quite obvious BUT it actually seems reassuring. Also, the absence of a clear message might affect the appreciation of a part of the public, BUT this is small concern for the director, whose primary aim (stated in August's voice off, in the beginning) is not to convey a moral attitude or a manifesto, but to ease pure delight on the spectators. Nevertheless, the I-cannot-relate-to-it factor breeds suspicion as to the actual relevance of what we see = Why should I care? Meaning, this seemingly inconsequential display of beautiful shots and silences can't extend its influence beyond the immediacy of the 90min viewing. BUT this is highly-debatable, if you take into account different responses from different people.

What I've just said about Reconstruction is hopefully not a gratuitous eulogy, but a considerate comment on what seemed to me a remarkably 'polished' if visually engrossing experience. Throughout the film, one gets the impression of intruding, of being a nosy Parker in an almost perfect, smoothly-trimmed, classy-as-heaven human landscape. Not an emotionless cine-verite, not a sweeping melodrama, not a frowningly guru-ish food-for-thought crap, Reconstitution proves warm enough to be cherished, praiseworthy in terms of cinematography, an outstanding and promising debut.

In Copenhagen, the photographer Alex (Nicolaj Lie Kaas) is the boyfriend of Simone (Maria Bonnevie) and the Swedish painter Aimee (Maria Bonnevie) is the wife of the writer August Holm (Krister Henriksson). When Alex meets Aimee in a bar, they have one night stand and falls in love for each other. However, on the next days, Alex is forgotten by his girlfriend and friends, and sees his world vanishing and his romance with Aimee re-initiating.

"Reconstruction" is an intriguing and surrealistic romance that follows the school of David lynch. All the characters are needy of love, and one possible interpretation (actually my interpretation) for the plot is that August is writing his novel inspired in the needy of his wife an muse Aimee that feels lonely with his constant absence due to his lectures and meetings with his editor Monica. He develops and affair of the character Aimme with the also fictional Alex, a man that has difficulties to commit with and believe in love, being hard for him to say "I love you" to Simone. When Alex meets Aimee, he leaves his past relationship behind but it is hard for him to believe in the love of Aimee and he loses her, and the magic of their love is never accomplished. If the viewer is seeking an original screenplay raising many questions without much explanation and open to interpretation, supported by great performances and wonderful cinematography and music score, he or she will certainly love this little gem. Last but not the least, Maria Bonnevie is a very pretty and seductive woman. My vote is eight.

Title (Brazil): "Reconstrução de um Amor" ("Reconstruction of a Love")

Essentially the story of a novelist who imagines a young man, named Alex, as the protagonist of his rather existentialist novel, Reconstruction blends the joins between two separate realities (the novelist's imaginary context makes up the third). Director Christoffer Boe basically omits any detail that would add distinction to his construct, instead keeping everything vague and non-committal enough to string the audience along. The glue that holds his construction together is Maria Bonnevie, cast as Everywoman in the men's imaginations (Aimee the wife and muse of the Phillip Roth style novelist; Simone, the young protagonist's girlfriend). Ms. Bonnevie displays a subtle sense of the difference between playing a woman and playing a romanticised view of a woman. As the wife she is mostly quietly dissatisfied, as the romanticised object of affection she is often lost, promiscuous and dependent on men; her Simone is somewhat less clearly drawn but is also a bit of a red herring to the main narrative. She has a beautiful, strong featured, cinematic face that she uses to great effect with accomplished neutrality that works particularly well in this context.

While Reconstruction has some clever, sometimes startling imagery-particularly in the shadowy motif of a figure in freefall-none of the characters emerge much beyond stick figures or chess pieces in Boe's elaborate yet superficial exploration of what, one presumes, are matters of the heart. Nicolaj Lee Kaas, as Alex, makes a rather charmless protagonist; unlike Bonnevie, Kaas seems inexplicably aware of his personal reality in the context of the novelist's imagination, thus it would seem that in Boe's world view there are no romanticised notions of maleness. Kaas is compulsive and promiscuous but is never given the opportunity to explore his predicament much beyond the director's shallow concept. Boe's attempts to play the humour of his Kafkaesque, ‘Alex in Wonderland' scenario fall flat, revealing the shaky foundation of the entire enterprise-it isn't sufficiently compelling to engage us in Alex's fate. Nor anyone else's, for that matter.

Reconstruction is most likely to appeal to younger, less experienced filmgoers for whom the bait and switch narrative techniques will seem more substantial; otherwise the film plays out with the opaqueness of an extended, overlong perfume advert. For all its elegance, the inclusion and reliance on Barber's overused Adagio feels like a major cheat; better that the narrative itself provoked an emotional response instead of the orchestra. Boe is a young filmmaker who may be one to watch but a certain maturity of purpose is in order. That said, Reconstruction is a major winner for the Copenhagen Board of Tourism.

It was a long time ago I have seen this film, but still... I can remember the feelings it has caused. I do not know why, but I felt everything, every single moment in this film just like I would have been the leading actor. The sadness, the happiness, every emotion. I suppose that the leading song Adaggio for strings, and the marvelous eyes of Maria Bonnevie was part of this magic, but... it really does not matter. It was not only a film, but something more. If you have not seen it before, then you must see it now. You would not regret it. The acting, the story, the music.. everything was... perfect.

This film is one of the best examples, why I accept filming as a kind of art.

I just got back from watching this awesome film and had to throw in a few comments.

My first thought was of the director Christoffer Boe, who surely must have been inspired by the master David Lynch. But, to take on the difficult task in his debut film - and extremely well done - is awesome!

The level of detail, the setting, music, visual effects and mystique is never - to my knowledge - seen before in Danish Cinema.

This new director deserves to be paid close attention.

"This is how it always ends - a little magic, a little smoke, something floating. We begin like this. It's not like the beginning - so take it easy. But it's important. Believe me."

Christoffer Boe's debut film is a mesmerizing love story that challenges the viewer to follow his ever changing storyline in a very unique way. Boe warns "it's not so complicated - there are four people - Aimee and I, August - we are married. Then there's Alex, the young photographer and his beautiful girlfriend Simone - they're not married. Alex and Aimee are going to meet."

Boe creatively injects himself into the role of August, an author. "They're all looking for love" and thus the story begins. The surrealism that follows is captivating. August continually plays with, or reconstructs the storyline, which in turn affects Alex - essentially transforming him into a free-falling bystander of his own life, leaving him to deal with the choices he himself didn't actually make - but after all, he's just a fictional character from August's writings.

This personal favorite of mine is a testament that creativity, beautiful camera work and editing, solid acting, and the right choice of music can overcome the budget restraints most debuting directors face. This stylish film will not disappoint. It is all film. It is all construction.

I remember an Empire review of "It's All about Love" that asked, if it was actually a film, we were not ready for? Well if it is, the same thing can be said about "Reconstruction". Following the trend of Nicolas Winding Refns (superior) "Fear X", and before mentioned Thomas Winterberg flop, Danish directors have discovered David Lynch.

This movie is co-written by film academy teacher Mogens Rukov (Also responsible for writing "It's All about Love"), and you can't help wondering if that's "what's in fashion" when it comes to the director/producer line of that particular education, these years.

Perhaps I should summarize the movie, but fact is that I didn't really get it. That's not really the problem. (Well it is for me, obviously! I'm the dumb one!). The problem is that I did not really care. You know those movies you see five times, that just seem to have that "HUH?!"-factor, making you want to see them again and again (Pink Floyd - The Wall, 2001: A Space Odessey... anything Ken Russell.. etc)? Well this doesn't.

Lacking the visual style (and more importantly) the quirky characters of David Lynch, this film remains cold and empty.

For all it's weirdness, at the heart of it you'll find a boring love-triangle, between a writers wife and a young 30s something, who in the process of choosing between the wife and his girlfriend, deconstructing his life, isolating himself from his life, family, friends and so on and so forth. It's all very surreal, but to tell you the truth, who really cares about beautiful young people, playing Eenie, Meenie, Mini, Moe with other peoples feelings. It may be modern, like it's surrealistic structure, but engaging it ain't.

... Come to think of it, you know what this is? It's probably one of those "We've gotten lost in society and we cannot communicate with others or find our way" kinda movies. If you're into that, may I recommend "BLEEDER" by Nicolas Winding Refn? It's not as high on it's own "If you thought you've seen weird movies, then forget what you know or think you know!!!!!!!!!!"-script, but it has better cinematography, it actually cares about the subject and Nicolas Winding Refn dedicated the movie to his mom! (That's a 10 on the Aww-o-meter, folks!).

For everyone not Danish - the review ends here. The next bit is an internal memo to my countrymen. Thank you for reading! Dear Danes. Two things for your consideration:

1.

I know that Danish films doesn't have a lot of money to spend on production. But try on the hypnotic "SULT" (Henning Carlsen) or the very serious "At Kende Sandheden" (Nils Malmros)... It IS possible to film more than just Grey corridors, and close-ups in dark-white bars! It can be done! I know that Denmark is probably THE depression capital of the world (Personified in Bille August), but we also have Trier and Refn. People who at least TRY to visualize their stories (Yes, also Trier, even though he cares by not caring). We can do this! We can! We just need to be not quite so lazy! And that goes for you as well Per Fly!

2.

Dear Mogens Rukov. You have done enough for us, by educating some of the bright minds of the Danish movie industry. There is no need to write new movies as well. And should you feel like writing more of these types of movies, please wait - wait till the world IS ready.

Having suddenly caught the beginning of this movie on one of Russia's channels, i was extremely determined to carry on watching it. Cause simply i was carried away with absorbing deep-colorful frames, provocative voice of author and that amazing girl Marie Bonnevie in bar -- a present of fate for Alex! During all film we and producer try to explain ourselves the magic of true love between Alex and Emme(not sure if it correct) They are suitable to each other but circumstances prevent them from being together -- famous problem...and why are they always meeting so as have met first time? And then Alex is not recognized by all his relatives -- strange and talented ideas of Cris Boe i want to claim! Though i had much to do that night, i thank the fate for watching this outfit. The end of film brought me sadness ((, but such sadness that made me fill better.

This film is my favorite film. I have the feeling that talking about it so much may not be good in order not to effect its charm. It is a difficult plot to understand,yet you do not need to understand everything,and that is also very charming. There is the main character Alex and his girlfriend Simone,and another woman named Aimee,wife of a writer who seems to be controlling the plot while writing about the life of all. Alex gets the opportunity of falling in love many times that is something a man wants to have as a coincidence,unlike woman as a need. I find the part very exciting after the writer is talking, Alex and Aimee are walking in metro before "in order to" meet.

Another Danish art movie.

This however is a pile of nothing. Shaky cameras and blurry pictures that contribute with nothing but a sense of a plain movie trying too hard to be special.

I enjoyed identifying my hometown of Copenhagen through the blur, and Bonnevie is easy on the eyes.

The script and the cinematography though were horrible.

Boe seems to be like that though. A wannabee artist that tries way too hard to be artistic. His new movie Allegro is even more pretentious than this garbage.