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.

This incoherent mini-series could easily have been a 90 minute movie and we wouldn't have missed any story elements. It would have been fast paced, but you wouldn't feel the urge to hit the fast-forward button, as I did.

There's a not a lot that make sense in 'Copenhagen Cowboy'. We are introduced to a wide array of characters who are somehow all connected and tied to the underworld, but most character arcs are left uncompleted. In the center of it all there's the emotionless protagonist with zero chemistry.

It's a shame that NWR focuses more on cool-looking neonlit shots, and slow moving 360 degree pans than telling an engaging story, because I prefer substance over style. Style should be the icing on the cake and serve the story, not the opposite.

Fortunately, that means all 6 episodes of 'Copenhagen Cowboy' are gorgeous to behold even when the narrative is seemingly skimming the borders of interesting areas to explore (and subsequently explain).

Anyone familiar with the director's oeuvre will know what to expect, but he still manages to bring something fresh to each episode with trademark camera flair. Tracking shots and slow pans are good, and I particularly liked his use of the 360 degree camera; it stylishly captured conversations, environments, and specific events with a smoothness that lulled you into acceptance of the show's pacing.

I'm not sure I understood everything the story was trying to do, especially in the final episode where it took on more Lynchian dreamlike qualities with supernatural flourishes, but there was always good moments sprinkled throughout, and the visuals were never less than stunning. Neon-drenched might sound cliche, but it's apt for describing Winding Refn's affinity for lighting a scene with almost otherworldly bluish hues and moody reds. Combine this with a synth score that always seems to be evolving from episode to episode and it's hard not to become enraptured by the audiovisual experience on offer. It's a tidal wave of style, so just sit back and ride it, basically.

So the cinematography, soundtrack, and stately pace are all signature elements of the director, but what about the ultra-violence so common in his work? It's graphic on occasion, but nothing like we've seen before. However, the fight sequences, though brief, are great. The choreography is simple, elegant, and augmented by the sound design, while the characters fight almost robotically. It's different, but also effective, and suits the characters involved as they are all quite emotionally reserved. Plus that final fight in the finale is arguably one of the most stylish sequences I've seen for some time; the way the sound design is integrated and the way the lighting enhances the framing is glorious.

Overall, 'Copenhagen Cowboy' leaves its narrative wide open for a second season it probably won't get, which is a shame, because even though I didn't love this, there's much to like, and certainly room to improve. Nicolas Winding Refn shows off everything that makes him a uniquely stylish director in the industry, imbuing every frame with something entrancing to soak in and showing real quality with use of camera, and though the story needed more work, there's few series's out there that look and sound this good.

7/10.

It's weird and slow. Idk why someone would call this revolutionary, I'm assuming because of the weird shots and lighting but this has been done. I will say this could have been edited just a tiny bit tighter. I'm very patient when it comes to films I watch but even this had me tempted to fast forward at times. I'm all for atmosphere and playing of the tension and all the goods that come with that but there's an art to it and you missed the mark on several occasions on here to where it seems too drawn out (subjective). Okay now I got all the bad stuff out of the way let me tell you why it's worth your time. It's a beautifully shot piece of art. Lighting is great and always motivated by the scene. The acting is really well done and the story kept me guessing. Okay now for the real reason I'm here. I believe and could easily be wrong but I'd imagine he didn't just pick the title because it was cool. I think it's more a nod to the fact that this series is essentially a Modern take on a Western. Miu is essentially our out of town hero coming into town to save it from the evil. Now probably should finish the last two episodes before I get too far ahead of myself. But enjoyed the first 4. I'll recommend. And to.

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.