Kollektivet

"The Commune" at the center of Thomas Vinterberg's film isn't typical of the communes I knew back in the day. For a start, the members of this one are reasonably well off and are mostly middle-aged and, of course, they bring to this 'living together' thing all the baggage you would expect. Things come to a head when commune founder Erik, (Ulrich Thomsen), falls for one of his students and moves her in leading his wife Anna, (Trine Dyrholm), to have a nervous breakdown.

Vinterberg's film began life as a play and it's certainly very theatrical but despite the emotional conflicts at the film's heart, it's also fairly conventional with everyone other than Erik and Anna fading very much into the background. You never get to know any of them. Subplots come and go and it just trudges on. On the plus side, it's very well acted particularly by Dyrholm who won the Best Actress prize at Berlin; she's the only one you actually care about. It might have worked better on stage where at least you could feel 'in the same place' as these commune-dwellers. On screen, it just feels like another piece of Vinterberg navel-gazing.

The story is not a good study of characters. All of them are almost caricatures. When the existential problem between Erik and Ana arises, both behaves in a way too much elementary, taking in account the gravity of the situation which is going on. More precisely (1) Erik is absolutely incapable to realise that he is ruining the emotional life and the self respect of the woman with whom he has been married and living in a pleasant way during at least fifteen years. A woman who proved to be generous when she accepted that Emma could live with the community, and who had probably fantasies of living a ménage à trois, along with Erik and Emma, thing that I think reasonable and human, considering what was going on. Erik sticks with Emma as if he hadn't any responsibility with regard to Anna feelings. (2) Anna is incapable to react in time to rescue her dignity which is being hurt by the irresponsible behaviour of Erik. The rest of the characters manifest themselves very poorly with respect to the crisis between Erik an Anna. Except the young Freja, daughter of Erik and Anna which is the only one capable to say that her mother must leave the community and seek for a new life. In short, Erik who is almost a pivot of the whole story, behaves - in the light of existentialist philosophy - as an individual with bad faith. I would add also, on my part, that he is a kind of mediocre individual.

A middle class Danish couple find that they have inherited a rather grand house on the death of Erik's father. It is going to be too big for them and their only daughter and more over too hard to finance and so Anna suggests they invite a few others to live with them and for a 'Kollektivet' or as we would call it a commune.

They waste little to no time in getting an assorted array of waifs and not so strays and soon fine that communal living bring challenges and opportunities in equal measure. Not all of them are going to be easy to grasp and the tensions, that go hand in hand with any social experiment, waste no time in pushing their way to the fore.

Now I really liked this, I loved the idea of a commune having spent time in one in the eighties (when they were a bit passé to be honest) and the themes are explored here but also the lives of the main characters are mostly to the fore. This is Anna played brilliantly by Trine Dryholm – 'The Legacy' and her husband Erik (Ulrich Thomsen – 'The Blacklist') and their young daughter who is growing up much too quickly. His is from director Thomas Vinterberg who brought us 'The Hunt' in 2012 and 'The Celebration' in 1998 and I think he has an eye for style but sometimes struggles to engage, but here I think he has melded all parts of the art very well together to bring a very entertaining watch – recommended.

Less difficult to watch then The Hunt or Festen, Thomas Vinterberg's Kollektivet (The Commune) impresses with great cinematography and how successfully it seems to reconstruct the details of the sixties and seventies fashion in Copenhagen, Denmark. But at the same time, it fails to deliver a truly engaging story. It's an interesting story, it's an exotic story, but the situations presented are so unfamiliar for someone who hasn't even considered living in a commune that it simply makes the plot hard to relate to. The Danish director apparently grew in a commune, but that doesn't mean that the story is autobiographical. However, it is pretty obvious that such a subject couldn't be presented so convincingly by someone without the experience of living in a commune. European movies are more and more something of an alternative cinema treat and this movie is a quite a delight from that perspective. The alternative lifestyle of the protagonists is presented in such detail that it doesn't seem forced or artificial. Most of the characters have strong personalities, but these are kind of ignored, as the pace is too quick to stop for them. Ultimately, what truly sticks out in your memory hours even after watching the movie is a very sad love story. A story about allowing extreme changes to your lifestyle and then having to bear all the consequences, with all the associated happiness and tears. "Maybe this is what people use to do in the Northern parts of Europe, I don't know what to say" was the first reaction of someone in the audience that I overheard at the European Film Festival, after the Bucharest opening screening. I kind of agreed. It is quite difficult to relate to a movie about an extreme leftist commune from Denmark. However, if you like strange stories that show with great talent a historical time and place, then The Commune is something you might fully appreciate. Yes, the action could also take place in a more modern setting, as the world is full of communes. However, what really makes this movie watchable is the love invested in recreating the look & feel of a defunct 20th century decade as seen and felt in a Northern Europe capital by a truly talented and hard- working director.

This is quite a slow burner, plot pace wise. Its mostly about family dynamics and trust. It took a while for me to feel especially interested in the characters but I thought it was somewhat of a powerful watch by the time it headed towards the end and I would say it may make you think.

If your not keen on character focussed dramas then this won't be for you. Also of course you likely have to rely on the subtitles, as its in Danish, although I was pleased to see that the subtitles were quite large in terms of text size, compared to other films with smaller subtitles, so if anything it was slightly less of an issue than it might have been. I felt sorry for the wife Anna and I did find myself wondering what might happen next, as things moved on plot wise but it is, as I say, a relatively slow burner, so don't expect fast paced action or anything of that sort. Its a reasonably intriguing watch and overall I suppose I'd say its a good watch, hence my rating.