Submarino

I have just watched this film from SBS Australian network, I was glued to the screen and wanted to give my gratitude to the writer and producer, this to me was a film that is dateless as we see life that effects and infects from the time that we enter this world

It's a reflection of life itself as we start out so pure but within life somehow we are exposed to a potential stream of danger and propaganda

I grabbed my son and hugged him very tight as I will try to prevent him from such an experience

Well done Mr Thomas Vinterberg your film was incredible and powerful, yes it did leave me sad but sad in a good way

Very kind regards DGB

Perhaps the darkest film of Vinterberg's career, if not the only one. You may know this director from such films as The Hunt (2013) and Another one (2020).

As much as 15 years ago, his work was published under the name Submarine. The tone of the film is clear from the very first minutes. Nothing good will happen, and over time, the heroes will only sink faster and faster to the bottom, in order to eventually come to the surface.

When a person feels bad, he watches light and life-affirming films, and apparently when he feels very good, he turns on something like this.

Still involved in his preoccupations with collapse of family foundation and its bonds (as evident also in his fantastic Dogme 1, FESTEN), Vinterberg comes back to Berlin with a film which is not about love at all, but about misery in general. SUBMARINO is the story of lack of love, family and commitment which is reflected in addiction, despair and murder. Looking through a glass darkly at the depressed people in times of depression, it gains its strength from the constraint approach to the subject matter. In his usual personal visions (of course, without a trembling camera after his Dogme propaganda and anti-bourgeoisie pretense), Vinterberg finds his way through a way far from any sentimentality. Grey overtones in each shot marks the world he's going to portray – a world in which everyone has forgotten all about fear and trembling. However it seems too naturalistic, SUBMARINO is able to make a survey into the lives of miserable men of the third millennium, not as a tearjerker, but as a veritable mirror

An incredibly intriguing, engaging, emotional and thoughtful drama from Denmark. Intriguing because there is a mystery about the sequence of events. You see the movie from one brother's perspective, initially, and there's a question mark over the whereabouts of the other brother. Then you see the other brothers story, starting a few weeks earlier, and everything starts to fall into place. A very clever plot device.

Engaging and emotional because you feel for the characters. They might not be the most angelic of people, but they are people worth caring about. You are drawn into their characters and relationships, and keep fearing for the worst.

Thoughtful because of how the movie depicts life at its rawest and people at their mot vulnerable, in a very sensitive and intelligent manner.

Not perfect though. The film is a bit rough around the edges. There are some minor character inconsistencies and some small sub- plots are inflated all out of proportion.

Solid performances all round, including one of the better performances you'll see from a child: Gustav Fischer Kjærulff as MArtin.

Great script and direction from Thomas Vinterberg, who I'm sure we'll hear a lot more of in the future. He has already directed one English-language/US-based movie, Dear Wendy, so will not be totally foreign to US audiences. His follow-up to Submarino, The Hunt, received a Best Foreign Film Oscar nomination in 2014, and has pushed him further into the limelight. He is bound for great things.

I just had the honour to watch this Danish film at the Berlin Film Festival, and I have the feeling that this could be the winner. I don't want to give anything away, so I will be very general.

What we witness is the compelling story of two brothers divided by life, united by the same tragic event. Both adrift in their sorrow, they run down their self-destructive paths, with little to fight for.

It is no big drama, though. The narration is gentle and respectful, and leaves the audience in the position of not being able to judge the characters for their almost invariably wrong choices, but with a strong feeling of compassion for all of them.

The performances of the whole cast are extremely convincing (including the little boy playing Martin)and Vinterberg's direction - unlike his previous Dogma movies - is at the service of the disturbing realism of the story, working at the same time with a beautiful composition of the scenes (the cinematography, from the very first scenes, helps going straight to the soul). Chapeau.

A special praise has to go to the two actors playing the grown-up brothers. Jakob Cedergren (Nick) in particular makes us see the fragility of his character through his eyes, despite his apparent and imposing physical strength. But the whole cast is really credible all along, both with their physical appearance and their realistic acting.

This movie, with its realistic description of the consequences and the dynamics of substance addiction, destroyed families (what a critic to the Scandinavian society, where alcoholism is a devastating plague) should be screened in every high school.

And, let's say the truth: if you don't find yourself silently weeping in the last prison and church scenes, you most likely have no heart at all. I am fighting with my tears right now, just playing the movie in my mind again.