Mørke

Mørke... Darkness... a movie consisting of, revolving around, set in and taking place in the cover of darkness. A movie about suicide close to you, made by probably the two most fitting people in Danish show business; Nikolaj Lie Kaas, whose mother committed suicide, and whose father drowned, in what may have been a suicide, and Jannik Johansen, whose sister committed suicide. This was a necessary film to make, for both of them. And us Danes need it too, because of the message it so beautifully communicates: we're not open enough about death. It's taboo. We don't talk about it... we just don't. And that's a mistake. As a character so perfectly says it in this film: "We don't talk about death. That's why it's so hard." The plot is brilliant. It makes sense and holds water(to some extent; it will be become clear to most viewers that Jannik Johansen chose dramatic effect over realism for some parts in the film). Also, it leaves room for Kaas' character to ponder, wonder and feel guilty. Without the internal conflict of Jakob, our main character, the film wouldn't be what it is. The pacing is absolutely perfect. I was never bored for a second. The acting is flawless. Nicolas Bro and Kaas are astounding. The characters are exceptionally well-written and credible. The dialog is great. Not one line seems contrived. It's put to great use, too; in one of the first scenes, Jakob's relationship with his sister and their mother, not to mention their(or is that... our?) relationship with death. Johansen also does a great job of underplaying cinematic effects... several scenes end with an unpleasant twist that adds something entirely new to the whole scene. The whole film through, we're delved into the mystery, not knowing who to trust, or what to think. We feel Jakob's powerlessness, his panic, and his guilt. We follow his travel into his own darkness as he unravels the truth. There are several scenes of high intensity, incredible tension and great suspense. Johansen has a tendency to draw out scenes that are in actuality quite short, and with great effect. This is, in my opinion, the greatest accomplishment in Danish cinema. I recommend this film to any fan of Danish films, thrillers and/or dramas. If you think you can take it(it's definitely not for the faint of heart), you should give it a chance. There's a big chance you'll find it every bit as deep, strong and emotionally involving as I did. 10/10

I would say I like dramatic thrillers a lot - particularly when events are happening in a real life, not in someone's head. If a confrontation arises between main personalities, it provides additional value to the film. In Mørke, the respective atmosphere and preconditions are capably created, but the main opposition is not equal: Jacob (vigorously performed by Nicolaj Lie Kaas, at least 1 additional point from me due to him) is much stronger and versatile character than "soft" Anker (Nicolas Bro) and the reasons for the latter's actions could have been different than appeared in the end (with a decent twist, however). Or perhaps I am more interested in materially motivated actions than spiritually.

The film is undoubtedly for you if uneasiness, gloom and doubts throughout the film are important and long moving scenes do not become boring.

Watching "Mørke" is a tedious affair, especially given that the Danes are currently far ahead of the other Nordic countries when it comes to cinematic artistry. Why Jannik Johansen settled for such a monotonous narrative will be the actual great mystery of this film. "Mørke" is a highly generic thriller film, that doesn't even attempt at delivering some actual thrills or suspense for its viewers. The otherwise talented Nikolaj Lie Kaas seems uncomfortable venturing around the eponymous town, looking for answers to the death of his sister. While perhaps not outright uncomfortable for the audience, it definitely is a lackluster experience.

If someone close to you tries to commit suicide - the normal reaction is to be taken aback. To start thinking what did I do wrong ... and also denial. Did he/she really try that? It can't be true ... something must be off. Usually you are extra careful when something like that happens ... and that is what the brother here does do, as we see him.

I would argue that we can see where this is going with his sister ... and we may see certain things, certain "signals", certain winks ... or maybe we just think we do(?). Even without having read the summary of this, I knew where her destiny would lie ... where her journey would take her - no pun intended. Also there are no brownie points or cookies if you guess right, what happened ... binary choice, only one of two things is possible. But it is nice to see the story evolve and the actors are amazing all around! I would not have reacted the same way the main guy does - but then the movie wouldn't have some thriller spikes in it if he did ... some cliches are being used, but overall more than a decent effort!

I wasn't exactly sure quite what happened in this film. The more I thought about it the more murky it got.

The film begins with some obscure quote from philosopher Albert Camus who apparently propounds the idea that the we struggle to seek meaning in a meaningless world.

Perhaps I struggle to believe in the irrational story. I assume that this really was a film about suicide and assisting or facilitating suicide.

Ankers parents may have been assisted towards their demise. Anker seems compelled to help people to slip their mortal coil. But what are the chances that every young female disabled person he meets seeks to end their own life. Or that they would all choose to commit suicide on their wedding day. To him. In the bath. It is so unlikely that if this did ever happen then actually they must all have been murdered. Did he kill them or didn't he?

The one person who definitely did kill someone by stabbing them was subsequently allowed to go free? I struggle to come to terms with the central absurdity of the film. Are we supposed to believe or have doubts?

I think we are supposed to find shock in the murky and abhorrent notion of the suicide of those closest to us, that we then realise that we didn't really know.

It would have been better with only two victims instead of four. With four, the central concept collapses under the weight of improbability. Otherwise it is a well made film.