Copenhagen Cowboy

The direction of photography does an excellent job with the lighting of the scenes .. Some of the viewers may find it to heavy for the eyes , too much neon , but this plays a role in these scenes...The evolving of the story of a young girl spinning round the ugly world of drugs and human trafficing , is slow , but on the other hand the emotions you get while watching the episodes fullfills the viewer.

I was too sceptic about starting the series , it is a sad story that comes from the darkest places of our world... As an amateur photographer i saw a lot of things coming out the viewfinder of the camera , pay attention to the static scenes , on a single face , or a wide plan with a lot of people ..like time freezes for a while.

It's great, and rare, to be presented with a TV show that leaves you wondering for hours and days afterwards if it's any good. This is something to be cherished, especially in an entertainment world chock full of formulaic drabness built on algorithms, fan service and commercialism.

Copenhagen Cowboy (a terrible title to be fair), even more than Refn's divisive Only God Forgives, is a death dream with a very loose narrative woven together with a smorgasbord of ideas and styles inspired by the mysticism and folklore from multiple cultures. It's a dizzying and head-scratching six episodes to which it's pointless to try to ascribe too much plot or even thematic analysis. Some will argue that there's just not enough going on to justify any sort of runtime longer than 90mins but the fact is that anyone who hates this is a series would hate it just as much as a movie.

It's at points breathtaking to behold, and utterly infuriating at others. The reliance on specific shots - static camera, 360-degree pans, slow zoom - is highly effective at points and annoying at others - but everything is calculated to build maximum tension and suspense, and serves to really bring the few scenes that aren't filmed in this way to the viewer's attention as being significant.

The technical brilliance in the direction, cinematography and score can't really be denied, even if it's not to your taste. Every actor is riveting, especially Angela Bundalovic who as the enigmatic Miu delivers a movingly minimalistic, affecting, and extraordinarily physical performance in spite of her diminutive size.

Love it or hate it, Copenhagen Cowboy is an experience. It's not style over substance - the substance is by and large the style itself, so if the style isn't for you then you'll certainly find yourself at sea. In coming to a conclusion of whether I liked it or not, I realised I could only think of a couple of people I'd recommend it to. And because those people are my favourite people who I trust the most, I figure it's something I definitely liked and enjoyed. Go make your own mind up...

A fascinating production that requires some perseverance by the viewer. Be prepared for a very meticulously filmed story that takes some time to more or less fully understand. The pace is slow in every aspect: in dialogue, in plot development and in cinematography. Acting is very minimalistic and retained and melts beautifully with the way scenes are filmed. The story has as much importance as the visual experience.

This series is definitely not for the impatient ones who expect an easy to swallow, quickly paced story. However, if you're ready to have some patience, are able to accept that not everything will ever become fully clear and are open to this kind of cinema, this may just be right for you. A gem in Netflix productions.

Ambitious miniseries with beautiful shots throughout and atmospheric lighting. The neon lights, production value and overly long silences were the highlights of the series. I was pulled into a strange world where I absolutely couldn't tell where it was going. The first two episodes require patience, however once you are into the story, Copenhagen Cowboy is something new and engaging.

The colours and cinematography are beautiful in a harsh environment. It's slow - sometimes very slow - but once you enter the meditative state, it makes sense. Though it has dark storytelling and violent characters, there's ample of hope and kindness involved as well.

The technical brilliance in the direction, cinematography and score can't really be denied. The reliance on specific shots - static camera, 360 degree pans, slow zoom is highly effective and everything is calculated to build maximum tension.

However, I feel like, it could easily have been a 2 hour film instead of a miniseries as it would've been fast paced and wouldn't even miss any story elements.

I love the films and television of Nicholas Winding Refn and within one episode I was fully back in his neon soaked, grimy, atmospheric world of static tableaux, the worst humans imaginable, extended circular pans and long signature pauses between speech or action.

I sometimes wonder if his effectively borderline mute protagonists are a direct criticism of people who use words too freely with no consideration.

As the mass Netflix crowd slowly find this I'm certainly expecting a slew of downvoting to occur and all the usual complaints about camerawork, lack of story, slowness and how quickly people fell asleep.

I hate these tragic people and equate them with the targets of Refn's scorn. The low, emotionally impotent, the unthinking and in this case thematically, the ultimate bottom-feeders, the pigs.

Basically if you like his previous work you will most likely love this too. It's been so long since the awesome Too Old to Die Young and you can see that he has certainly put those 4 years to good use.