Lad de små børn...

There are so many ways to fail when you tell a story about people who are in a state, people who mourn, people who can't communicate. But writer Kim Fupz Aakeson and first time director Paprika Steen pulls this off like there's nothing to it at all. "Lad de sma born" is a masterpiece, shining with profound psychological insights and exquisite performances. Grabol, Birkkjaer, Pilmark, Endre, Mynster, Brygmann, Christensen are all superb. This is a movie much similar to the great "Elsker dig for evigt"; it stands out with the same sharpness, same credibility, same maturity. I love von Trier, but Denmark has more to offer. Much more. We are grateful.

A harrowing tragedy ,with avoids all the traps of melodrama: what can be worst than the loss of a child? The subject was often broached ,but never that way.

The story takes place six months after the death, and as the couple resumes their life , what is left for them is only photographs ;there won't be any flashbacks, or video films ,the usual paraphernalia .Not the easy way out. And no religion either ;only the void. The director wanted us to step into their shoes ,in a harsh way .

The neighbors try their best to help them get over the loss ,but they are as helpless as the social workers (the scene between Britt and the young student is revealing: "we 'll never give them a better life ;all they need is loving parents ")

Sofia Grabol is the most convincing as the social worker who tries to find a reason to believe in her work ,but who soon is suspected to "steal the baby from the mother"; she becomes an enemy for the mother ,abetted by her partner , even though she gets out of her way to help them. Britt's scenes with the baby are admirable.

Mikael Birkjaer matches her every step of the way (of the Cross) .He's terrific in the scene with the japanese ; on the other hand ,his brief affair with the real estate agent is conventional and predictable and is the only flaw of an excellent psychological drama.

Ubiquitous actress Paprika Steen makes an assured directing debut with this hard-hitting drama of a couple (Birkkjær and Gråbøl) attempting to cope (in very different ways) with the tragic loss of their teenage daughter, who has been killed by a drunk-driver (Mynster). There's no easy way out in this extremely well-acted film, which unfortunately also lacks a satisfying conclusion, and a few loose ends. Written by Kim Fupz Aakeson with music by Nikolaj Steen, the director's brother.

7/10

Claes and Britt have lost their 12-year old daughter, run over by a car. Each fights their demons in their own way, and their marital relationship is shaken. Britt returns to work but her judgment and conduct are not as they should be; Claes works through but his anger leads to his suspension.

Claes boss Nisse, and boss's wife Vivi, are sympathetic but they are at a crossroads in their own relationship. All four are walking on eggshells.

The story is told without exposition. We are drip-fed just enough information to keep us engaged, and gave to work out some background for ourselves, being soared none of the anguish.

We English are stereotyped as having a stiff upper lip, but Claes and Britt take this to another level. Where Britt buries her grief, Claes bristles with suppressed rage to the point where we question his ability to function.

The story pulls no punches. There is no pretence of 'good' and 'bad', only 'hurt'. All major characters suffer crises of one form or another, but we empathise and want resolution for them.

Two minor characters, Malene and Ulrik, deserve particular credit. I didn't know the actors but they perform beyond the scope of their roles.

A powerful story of people on the edge.

Foreign films with subtitles have a reputation for being highbrow (especially around difficult subjects) but this Danish one is simply odd. After losing their daughter in a road accident, a couple don't just suffer from a marital breakdown... they behave in the most bizarre ways possible.

The lady returns to her job as a social worker after 'recovering'... And immediately becomes obsessed with helping out the young druggie mother of an abused baby. She goes WAY beyond the call of duty though, by babysitting at all hours of the day... and even taking the infant back to her house. It's difficult to see what her intention is here... she isn't trying to kidnap it to replace her own child (which would have been more interesting). And if she really want to assist the bairn, she would've got the youngster sectioned while the stoned mother saw a professional. Instead, she resigns from the case during an argument with her boss, and the whole thing finishes there. Status quo maintained.

As for the father of the dead girl... what a nut job. He's got a self destructive streak a mile long after what's happened. He is openly racist to some Japanese businessmen during his working day, which results in him more or less getting the sack. Then, he lies to his wife about still having his job, before spending his days drinking and stalking a female estate agent, who we assume he wants an affair with... but the reality is somewhat different. You see, she plays a major role in all this, and you wouldn't want me to spoil the plot now. So let's just say finding out exactly what it is the highlight of the movie... unlike the rather uncomfortable scene that follows it.

Everyone is on form with their performances... there are some powerful moments involving the central pair, AND their married best friends (Who have their own crisis, NO-ONE in this film is happy). It just feels so disjointed, with the random behaviour blunting the overall impact of the piece. With more story cohesion, we could have something special here. As it is, it's more laudable for the sum of it's parts than as a finished article. 6/10