Tag Archives: Denmark

Around the World in 80 films: No. 3 – The Boss of it All (Denmark)

The Boss of it AllIn what appears to be quite a practical decision in terms of my cinematic journey around the globe, I have decided to hang out in Scandinavia a little longer and moved from Finland to Denmark. As well as being a relatively simple step in the physical plane of existence, it was also quite an easy choice for my next film, a 90 minute comedy described on the DVD case as being “like The Office directed by a mad genius”.


Leaving aside the fact that I’m sure Ricky Gervais would probably tell that The Office actually was directed by a genius, the idea of a knockabout comedy directed by uber-nutjob auteur Lars von Trier intrigued me. Despite being seduced by the idea of the Dogme film movement, I have yet to find a von Trier film that I’ve actually enjoyed. The Idiots was bemusing, Antichrist was disturbing, and Melancholia was simply boring. Compared to his Dogme co-founder Thomas Vinterberg (director of the utterly brilliant Festen and The Hunt), I just struggle to see the big deal about mad old Lars.

And sadly, The Boss of it All hasn’t really changed much.

The premise is a promising one, so much so that Arrested Development creator Mitch Hurwitz has apparently signed on to direct an American remake. The film focusses on a small IT company which is preparing to be bought out by a large Icelandic firm. However, the owner of the firm (Ravn, played by Peter Gantzler) has created a mythical ‘boss of it all’ to take the flak for all the unpopular decisions, while taking credit for anything that pleases the staff. When the potential buyer refuses to deal with a ‘stooge’, Ravn hires an overthinking and enthusiastic actor (Krisstoffer, played by Jens Albinus) to play the part of the Boss. As Krisstoffer delves deeper into his role he starts questioning his motivations, and taking increasingly erratic decisions affecting the staff and the sale.

It’s certainly my favourite von Trier so far, and some scenes are both inspired and hilarious. The trouble is that the director obviously can’t allow himself to make a simple comedy, and so gimmicks and Brechtian constructs soon get in the way of what is a rather simple narrative with a lot of promise. Just when we’re getting into the story, an unknown narrator informs the audience that due to the generic conventions of comedy we are about to introduce a surprise character to add conflict. At other times we go ten or fifteen minutes without even an attempt at a joke. It appears as though The Boss of it All would rather be clever than funny.

The other bizarre thing about the film are the number of jolting jump cut and some odd choices of framing. It turns out that von Trier was using a system called Automavision, which allows the director to choose a fixed camera position, and then a computer chooses when to pan, tilt, zoon, or cut. It’s an interesting experiment, but one that ultimately alienates the audience further from the film.

It’s not often I say this, but I’m looking forward to the American remake.

Speaking in Tongues – the Foreign Language Oscar longlist

The GrandmasterThe Internet is often accused of shining too much light upon magic. No longer do blokes down the pub chat about the match without somebody flinging out their black mirror to quote every OPTA stat like an autistic vidiprinter. Stumbling over a potential classic read in a bookstore has become something of a minority interest sport, not just because bookstores are closing at a rate comparable to Working Men’s Clubs, but one quick scan of Goodreads gives you enough crib notes to appear as the most well-read member of your book club. With amateur YouTube accounts and news aggregator sites such as BuzzFeed and Cracked reducing everything from current affairs to album released into bite-sized cue cards, it’s little wonder that the pervasive opinion is that of the facilitation of diluted information somewhat reduces the anticipation, excitement and general thrill of how things used to be.

Partial credit for that view, as the drawing back of the curtain made possible by the Internet does have its positives points. What used to seem mysterious or oblique, such as the drawing up of nominated people in various award ceremonies, has become broadly open and available for comment. The ‘longlist’, so rarely mentioned before the expectation of transparency brought about by the Internet, is now part and parcel of the bauble giving process. No more is such openness exciting and, just perhaps, symbolic of the ‘window of the world’ ideal of on-line life, than the longlist for the Academy Award for Best Foreign Language Film (more correctly labelled by the august gentlefolk at BAFTA as ‘Film not in the English Langugae’, but who am I to suggest that our American cousins have an unfortunately skewed opinion of ‘foreign’.)

This year nine films from over seventy submissions have been put on the initial longlist, and I have endeavoured to find at least a trailer somewhere for a select few to chin-stroke for your delectation. In the spirit of the New Year, I will hand over to other Failed Critics to consider  those I have missed from both the longlist and unsuccessful others, out of a duty to be fair, and because I hope somebody else can stomach watching the entry from Thailand. No, I’m not doing it, watching it for research purposes was quite enough. Ask James. [I just watched it. Bloody hell. Do not click HERE – James]

From Bosnia-Herzegovina comes ‘An Episode in the Life of an Iron Picker’ (‘Epizoda u životu berača željeza’). Low on laughs, this one. Director Danis Tanović explores what he considers to be the ‘omnipresent’ injustice in a country many years removed from the devastating civil war of the 1990s. A woman, Senad, falls ill during pregnancy, but has no means of paying for treatment when the child she is carrying dies. The trailer is unremittingly bleak. I recall watching Bosnia’s winning submission ‘No Man’s Land’ some years ago (it beat ‘Amélie’), so I know that their cinema has a somewhat downbeat side, and who could blame them? Stark and courageous as this clearly is, I think it’s not one for me to settle down of an evening to watch.

Similarly serious is the entry perhaps best known in the UK thanks to much broader distribution rights, Denmark‘s ‘The Hunt’ (‘Jagten’). This claustrophobic tale of mass hysteria in a small village beats particularly relevant drums in this country due to the ongoing concerns about paedophilia in the media and the well-known mob justice attacks on innocent people (including a disabled Iranian man earlier this year, and the infamous attack of a paediatrician.) As many fans of Nordic Noir will attest, ‘The Hunt’ speaks of shadow and light as close partners. It’s been a good time to be a Danish screenwriter, with ‘A Royal Affair’ making similar waves last year. The trailer for ‘The Hunt’ in its native language does look so much like ‘The Killing’, I’m just saddened by the lack of chunky knit jumpers.

I was taken aback by just how unexpectedly lovely ‘The Missing Picture’ looks. Already awarded the Un Certain Regard prize at Cannes, the third ever submission from Cambodia could well be the kind of film the Academy award themselves. Looking at the atrocities from the country’s dark past through a mix of animation and filmed segments, ‘The Missing Picture’  looks to be as much docu-drama as film, and is none the less compelling for that. The entire film can be found, without subtitles, on YouTube. From what I saw, this brave and moving piece would be a humbling and informative film and perhaps a companion piece to ‘The Art of Killing’, although not perhaps on the same night, or if you’re prone to emotional outbursts.

Hong Kong has made the longlist with ‘The Grandmaster’ (‘一代宗師’), a retelling of the story of Wing Chun grandmaster Yip Man. It is the first submission from the former British colony to make the January cut-off since 1993, and I can see why it’s been picked up for wider release. Slick, dark and beautiful in ways only East Asian martial arts films can pull off properly, ‘The Grandmaster’ is also notable for including scenes unique to whichever of the three edits you happen to find (original, European release and world-wide version). It could well follow in the ‘Crouching Tiger…’ tradition by crossing over into cult status if the mood is right, and I see no reasons why this isn’t possible.

These four take only but a sliver from the full seventy-odd entries from countries as diverse as Nepal, Italy and even The United Kingdom. I’ll await the results of the Academy’s considerations with interest. It’s worth the light being shone upon the world sometimes.