La Chasse

Disturbing tale, very uncomfortable film, to watch what happens to this man. Simple and one-sided, but still a good portrayal of a tragedy that feels very real.

This is a really tough movie to watch. I don't know how they do it, but keeping it "real" is not an issue with Mr. Vinterberg and others as it seems. Having a real situation that will throw you and others off balance and play it as straight as possible sounds simple, but it really isn't. You need actors like Mads Mikkelsen to convey the story and be able to portray all the facets of his character.

The kid actors in this are very important too and as is said in the making of, none were told the whole truth or what the implications might be. Which is especially important to those who might think kids were exposed to things they shouldn't have been. Which brings us right back to the theme of the movie and the question, if we are over protective or if the world around us has changed too much? There are a lot of other questions too that are raised and not all can be answered with certainty or any satisfying result. Which makes the movie even more disturbing and good.

I saw this movie yesterday. I agree with previous reviewers, this is an excellent, moving, wonderfully acted movie. It is impossible I think to go through it without being brought to tears at one point or another. You also feel like screaming at some characters sometimes - "what are you doing? Open your eyes! Listen!" But the great thing is you always understand where each character is coming from- you might not agree with their actions, but nothing they do feels forced or unrealistic. Mikkelsen is amazing in this. I had seen him in a few movies before, and always thought highly of him, but here he is just incredible. It's a tough subject matter, and the movie does not shy away from it, but at the same time it is not vulgar or "in your face", it's tactful. I really loved it.

"The Hunt" is the latest unflinching drama from Danish auteur Thomas Vinterberg. Co-written with Tobias Lindholm, this is an ambitious star vehicle for legendary actor Mads Mikkelsen, an icon in Denmark and familiar face around the world as well. He plays Lucas, a small-town kindergarten teacher. At its heart the story is ultimately a powerful comment on prejudice, based on true incidents, that may leave you emotionally drained but truly moved.

To delve into the plot here would reveal too much. So I'll just say that the film is quite dark and deals with some very difficult subject matter that can be very hard to watch at times. I'll leave it to you to decide if you want to be more aware of the details by looking up a basic synopsis.

This is essentially a one-man show. While supporting cast members are all up to the challenge, Lucas is on on screen virtually every moment of the movie and its overall success rises or falls on his believability. Mikkelsen's delicately underplayed characterization of a man under fire likely won't be appreciated or understood by all viewers. His restrained performance is remarkable and does much to make The Hunt a haunting, memorable experience. Among the children, Annika Wedderkopp's portrayal of Klara is frighteningly brilliant. She steals every scene she's in.

The physical beauty of the production belies the ugliness beneath. Natural lighting is used to match the heights and depths of the kindergarten children's emotions. Their innocence is reflected in its intensity. When surrounded by love, they are glowing. The color palette is warm and inviting. As fear rises, they appear in shadow. The tableau turns increasingly darker as the narrative does.

This is a very quiet and thoughtful experience in many ways. Nikolaj Egelund's score is sparse. Editors Janus Billeskov Jansen and Anne Østerud keep the pace measured and deliberate. The focus is on the story. Long takes without dialogue are quite effective as so much is said in the eyes, in the faces, of Lucas, the kids, and townsfolk. Cinematographer Charlotte Bruus Christensen allows the lush landscape of the Danish countryside to lull the viewer into a sense of peace, in contrast with the turmoil just under the surface, ready to jump out like a demon in a horror film. But these are real life nightmares, not the product of a genre writer's imagination, which chill to the bone.

Hollywood could never touch this subject and have anywhere near the impact. Backed independently by Swedish and Danish production companies, director Vinterberg actually intended to set and shoot the picture in Canada but better tax incentives and financing led him back to his native country of Denmark. It doesn't matter, though. This is the kind of isolated little village that can be found anywhere in the world.

"The Hunt" was easily the saddest film I've seen all year but in a cathartic way that only a great work of art can accomplish. It's a gritty and hard-hitting statement on our judgmental society that pulls no punches in its recounting of a controversial ripped-from-the-headlines story, repeated all too often in recent history, that's both poignant and polarizing in its authenticity.

It was difficult for me to hold back tears during the screening. I broke down several times. Many will be touched by certain scenes more than others, but "The Hunt" is one of the most affecting and emotional films I've ever seen and one of the best of 2012.

In Thomas Vinterberg's superb psychological thriller, The Hunt, a town turns on its kindergarten teacher, Lucas (Mads Mikkelsen), from the erroneous testimony of a little girl, Klara (Annika Wedderkopp), who accuses him of molesting her. She's also the daughter of his best friend, Theo (Thomas Bo Larsen), who believes along with the town that Lucas is guilty because children, especially his daughter, don't lie. Although Klara claims throughout she said a stupid thing and Lucas did nothing, his parents are convinced she is just reacting to the gravity and changing her story. Tragic blindness is not just the province of Oedipus.

The film's title, with bookending male hunting rituals, is obviously figurative for the hunt by the town's people for Lucas's well being. Only too swift is their condemnation, their righteous indignation, blinded by Salem-witch like certainty that he is guilty. The town's vigilante-like attitude is reminiscent of Frankenstein's townsfolk, hounding the monster without even trying to understand.

Beyond the figurative display of crowd wrong-headed mentality is the disturbing suggestion that at any time a life can be turned upside down without even being responsible. It also suggests that the only antidote is to keep believing in yourself.

Maybe more powerful is a sense of humor, which occurs occasionally in the film and is best exemplified when a friend, upon Lucas's return from police headquarters, shouts as Lucas embraces his son, "Hey! If you fondle your kid, you'll go back to jail." It's gallows humor, but it is effective. Just as effective as the ironic humor is the low-key, natural lighting, consistent close-ups, and ubiquitous hand-held camera work. It is an intimate business that closes in on everyone in the town, not just the innocent victim.

Having witnessed through this intense work of art the vulnerability all have in the face of a crowd mentality, we should remember the Chorus's final warning in Oedipus Rex: "Therefore wait to see life's ending ere thou count one mortal blest; Wait till free from pain and sorrow he has gained his final rest."