A corazón abierto

Dogme movement (1995-2005) is a terra incognita for me, although now it has officially existed only as a terminology thanks to the ubiquitous evasion of shooting on location with any cellphones or other hand-held lighter gizmos, and its spirit has been ingested by more advanced mutants (e.g. mumblecore). But Susanne Bier is not merely a Dogme enthusiast, AFTER THE WEDDING (2006 7/10) is a redoubtable relationship dissection and OPEN HEARTS (the new Hannibal Mads Mikkelsen star in both films) treads the same territory to examine the complexity of humans' conundrum between desire and responsibility, ethics and emotions.

Two couples, one is engaged, another has 3 children, a car accident (not entirely abides by the Dogme rules though) turns their worlds upside down, a threat is common-or-garden both in the cinematic and real world; the life-changing mishap prompts an adultery between a middle class doctor and the disheartened fiancée, whose fiancé undergoes a permanent quadriplegia from the car accident where the doctor's wife is the offender.

The face-fixated close-ups extensively put those characters under scrutiny for their rational and irrational behaviors, natural light commingles with saturated palette (during the beginning and the ending) and a black & white lens of the blurry and grainy illusory fancy. The cast is sterling, a quartet of tug-of-war from Mikkelsen, Richter, Lie Kass and Steen, a humdrum-weary family man holds his seven-year-itch infatuation to a damsel-in-distress; a comfort-seeker with abiding guilt of abandoning her bed-ridden fiancé; a young paralyzer who ruthlessly deserts his fiancée for his incompetence as a proper man but still hankers for her company; a wife is rueful of her road rage and its tragic repercussions, suddenly devastated by her husband's utter betrayal; Steen's impromptu slapping and Mikkelsen's reaction are among the best on-screen intensified scenes I have even seen, three of the four leads end up in my yearly top 10 list (guess who narrowly missed the spot?).

But on the other hand, the melodramatic core of the story hobbles a soul-searching catharsis and empathetic introspection which would put the film onto an upper notch, Bier and DP Morten Søborg's camera is erratic but not dizzily shaky, the fly-on-the-wall intimacy allows us to take a much closer look at the symptoms and the cause of the frailty resides in every soul on earth, and offers us staying in a paralleled world, munches with palliative pills to ease our own troubles.

Having just watched this film, I had to write something. Totally stunned by the film and its depth. The acting was superb, with totally believable characters involved with an amazing script. I would rate this as probably the most impacting film I have watched. I would recommend watching this film with a loved one. Don't miss any chance to watch this.

The music score is first class, and fits exactly with the tone of the film. Having not seen the actors before, my next task will be to find out what else they and the director have been involved with, in the hope that another gem exists of similar quality.

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!

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)

Halfway through Open Hearts, it becomes more obvious that you're watching a fictional account. The plot becomes slightly predictable, which is a good thing. For the most part, this new Danish film feels like a reality documentary and pulls you in like reality itself. Director Susanne Bier follows the technical requirements to earn a Dogme 95 certification, which means the film has to be devoid of any unnatural camera movement, lighting and sound among other rules. As a result, Open Hearts is also devoid of superficial movie cliches and full of heartfelt human situations.

The film follows a young, newly?engaged couple and a married couple with kids, whose lives are interrupted and complicated by a road accident. Bier stays clear of the external effects of the drama and instead focuses on the characters' inner effects. Her protagonists lose emotional control and appear ill?equipped to handle the consequences of an unexpected tragedy. The film's appeal is not only universal, but timely as well, shattering the modern belief that everything is controllable. Once tragedy strikes, our lives seem far more fragile than we thought.

Stephan Paschalides