Familier som vores

Thomas Vinterberg's series "Families Like Ours" is an ambitious tale about a Danish family facing an apocalyptic crisis. The acting is decent, but it is difficult to sympathize with the characters as they often make incredibly foolish decisions.

From the beginning of the series, we see the family navigate through a series of catastrophic choices that only worsen their situation. Their inability to think rationally and act sensibly makes it hard for viewers to engage emotionally. Instead of learning from their mistakes, they repeat them over and over, which can be frustrating to watch.

Their decisions are often driven by extreme stupidity and short-term thinking, It is hard to feel sympathy for characters who seemingly do not learn from their mistakes and continue to put themselves and others in danger.

Although the series has its strong moments and manages to create an intense atmosphere, it is difficult to overlook the many foolish decisions the family makes. This makes it challenging to invest emotionally in their fate and leaves the viewer feeling frustrated rather than empathetic.

Being a refugee must be a profoundly difficult experience, as your home collapses around you and you lose whatver social and financial capital you had accumulated, and are forced to seek refuge in a potentially hostile land. But as western Europeans, we often lack sympathy with those who come to our shores. Thomas Vintenburg encourages us to take the opposite view by imagining ourselves as the refugees in his drama 'Families like Ours'. A problem is his scenario, a Denmark made uninhabitable by climate change. It's not just that the geography is wrong (Denmark is generally low lying, but the scenario of an almost uniquely Danish problem is not realistic) but that even in places where we might have to abandon land such as the southern Netherlands, there would be a gradual deterioration; the model we see here, of a still well-functioning society making a rational decision to give up and end itself, surely wouldn't happen anywhere. One can also note the fundamentally optimistic nature of the story. But Vintenberg remains a gifted story teller, and like most of his movies, the series is subtle and moving and for me at least, able to make me grateful for what I have but which future generations, if we make the wrong calls, may not.

It's so annoying to see this Laura character and her foolish naivety. She must be the biggest crybaby ever.

Stubborn, silly, and definitely not a representative 17-18 year old Scandinavian girl. The idea for this series is good, but the script is not realistic. I know Danes are stubborn, but some of these characters are both stubborn and so incredibly lacking in street smarts. Too bad Winterberg did not see this. It feels like the series misses the mark on portraying believable characters, making it harder to feel invested in their journey. Such a wasted opportunity for depth.

I can just agree with the Gilles Character that says Jacob and his wife are just spoiled persons.

The premise is very interesting, but the script and how most of the characters act is beyond stupid. Makes for an unintelligent script that completely destroys any thrill.

It starts out setting the tone and you start to think, wow what if this actually happened, then what what you handle it. Many really great actors in this productions makes it even more interesting to dive into. The first couple of episodes starts strong. Episode 4 was a turning point for a disaster of a stupid storyline unfortunately.

It is shot in a intriguing manor and the locations make it believable at first. Then hits the storyline that it just worse and worse episode by episode. By mid-episode 5 I lost all interest in this.

I was looking forward to this series with a certain amount of expectation. Knowing many of the strong films by Vinterberg - The Biggest Heroes, The Celebration, The Hunt, Another Round, and my favourite: Submarino (2010) - I felt quite confident about what to expect in terms of craftsmanship. Also the cast, with strong forces like Thomas Bo Larsen, Nikolaj Lie Kaas, Esben Smed, Paprika Steen, and David Dencik would normally be seen as adequate guarantees of great performances.

I like the idea behind the plot, which I think shares bonds to the short story "Hvis der blev krig i Norden" ('If War Should Occur in the North', own translation) but the way the story has unfolded so far is with some lenghts from the standards I had hoped for. More than half though all 7 episodes, the plot seems stuck in a moment of a catastrophe that you simply do not buy. All the streets of inner Copenhagen and those of the suburbs appear completely passable, yet the country is closing down (!) because of rising sea level! In reality btw, most of historic Copenhagen is situated only a few meters above sea level. This means, the story clings on to a narrative of disastrous climate changes that you need to understand but never get to see the consequences of. Only in an epilogue of the last chapter of the series you get an overview of some of the consequences, although, it still appears like a strongly forced decision to shut down a country.

And then the characters... Hardly anyone in particular deliver on the scale you could expect, perhaps with the exception of Dencik, who as usual portrays with a grit and with emotions on the outside. Alas, his role is minimised and not followed in the last part, where we only follow Laura's destiny. What's more astute is that not many of the characters come out as strongly sympathetic, which makes it hard to be engaged in how they will manage. At the center of the plot we meet Laura, nicely portrayed by Amaryllis August, and around her a few actors stand out, e.g. Magnus Millang and Asta Kamma August, but the characters they play are not persuasively build as they appear somewhat one-dimensional and take odd decisions that cannot only be explained via a confrontation with chaotic implications. As we leave Laura in episode 3, she has only just made a rather existential decision and then in the midst of the succeeding episode, she realises the consequences of that, although she already dealt with that previously, and only then she begins to act it out. Of course a little late it appears, and that nonsensical development disrupts our understanding of the character - yes, she's young, yes, she's put in a complete chaos she and no one are in control of, but still, (duh) it doesn't help the plot and our conception of the narrative. Another critical issue is that some scenes could be improved by retakes and then the whole story is so far burdened by no variation in tension, which I find is the most annoying aspect. Also, too much of the story is put on young shoulders, who don't own the expertise of acting but mostly due to inadequate scripting of the characters. Amyrillis August portrays a young mother, at first very convincing, but her character undergoes a strange personal swift mood change (in ep. 4) that doesn't help caring for the young mother. And then she's like many other characters put away in the last episode. Naturally, we cannot follow all but the decision to put in a strong role and then not follow her journey to the end is a frustration that is mirrored in several others. Basically, she plays the only part of working class Denmark, and everything else is centered on a narrow elite of families representing 1% of the Danish population.

The production costs naturally limit what you are able to realise, but why then use the few locations you dispose of to try to sell something it won't stand a chance to materialise as? It's quite obviously a story that takes place and progress via the dialogues and thus more suitable for something for the stage - that is if you cut down the length 'cause after four episodes we are into a 7 episodes' series, but it appears like 30 minutes into a 2 hour long film, despite knowing we're half way through. I hope that I'm mistaken concerning my current expectations as to what will occur in the last three remaining chapters, but fact is, I was already a bit bored. Which means: I had lost hope for this, and my state had actually only put me pondering whether it would be worth following the next chapters. I still hoped for more but for the whole plot and the execution was a disappointing affair.

EDIT: after watching episode 4, I have granted the series another star (now going on 4), not because that means I will eventually end up handing it 7 (unlikely) when all episodes are through, but my initial verdict with 3/10 does seem a bit harsh now. I still kinda like the idea of the story and some of the characters - it's not their fault the script lacks here and there - but it's still a long way to make this a pursuassive and recommended series to follow. I guess, the fourth episode convinced me to see all episodes, though, as some twist and turns have made the story a bit more interesting - and I basically really want to see what Vinterberg has put his work into.

FINAL EDIT after 7 episodes: Overall I hand the series 4 / 10 stars. With the last three episodes, we follow the characters on their individual journeys in foreign countries, but the destinations are far from logical. You could argue that in times of catastrophe there would be no logic, but choosing Poland, Finland, and Romania as top priorities is hard to swallow. What happened to Norway, Sweden, the British Isles, and Canada/ Australia/ New Zealand for that matter? Meaning countries with similar culture, and less density in population. Of course Vinterberg intends to strengthen the idea of a world turned upside down with the spoiled elite turned into what has more in common with contemporary refugees from Syria, Sudan, Ukraine, Eritrea, Palestine... and we wouldn't understand that if the families would seek refuge in other wealthy economies. So, that's just another "absurdity" to accept.

Without spoiling the end, I felt like a revisit to Von Trier and his "Breaking the Waves". The analogy to existential despair is touching but also forced, unnatural and a much unwanted director's remark to yell out this.is.the.end.of.the.story!

In retrospect, the story should have let us know what we are dealing with. What's at stake. Show us. Pick people from more than just a narrow community, when portraying a whole country. Use a logical mindset to the created characters - even when things go wrong, most people still act as responsible individuals.

A strong starting point ends with too many loose ends.