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Entries in Nikolaj Lie Kaas (3)


Interview: Nikolaj Lie Kaas on Playing the Complex Lead in Denmark's Oscar Submission 'You Disappear'

By Jose Solís.

Since his breakthrough performance in The Idiots, where he played the sensitive, tragic Jeppe, Nikolaj Lie Kaas has remained one of the most interesting male actors in the world. Jumping from genre to genre, and from big Hollywood productions, to intellectual television series, his body of work is as varied as it’s complex. He’s played real life people, an assassin trying to thwart Tom Hank’s plans, a romantic hero, and one of the most beloved literary characters in contemporary Scandinavian fiction. But in Peter Schønau Fog’s You Disappear he reveals layers previously unseen as he plays Frederik Halling, a school headmaster whose world is shaken when he’s accused of embezzlement. Could it be that the brain tumor affecting his personality is to blame, or has Frederik always been this way?

The late, great Michael Nyqvist plays Frederik’s lawyer, and Trine Dyrholm plays his loving wife. You Disappear has been selected to represent Denmark at the Academy Awards next year, so I caught up with leading man Kaas, to discuss his work in the film, the way in which he approached a character like Frederik, and his opinion on awards season.

Read the interview after the jump.

Click to read more ...


TIFF: A Funny Man, Love and Bruises,... Anatolia

Amir, here, back with more coverage of new TIFF films. The Toronto International Film Festival is winding down but luckily I have a couple of big name movies still scheduled. Here's a few from the last two days.

This Cannes grand prix winner is a slow-paced police procedural in which a doctor, a prosecutor and a group of other police agents drag an alleged murderer along with them in the rural Anatolia region of Turkey so he can show them where he’s hidden his victim’s body. More than half of this gorgeously shot film is spent during the night and I for one wished the morning never came. Gokhan Tiryaki’s impeccable lighting and the varied range of shots he creates in the limitless but monotonous locale of the film easily tops my personal list of best cinematography of the year. 

There’s more to the film than the actual nightly search as Ceylan gives us indications that we should question the nature of the crime. Supernatural observations, spirituality and religious themes of guilt and faith all play a part in this hypnotic film. At two and a half hours, Anatolia won't be for everyone, but if you’re willing to go along with Ceylan’s delicate look into the social structure of Turkey and his humanistic approach to this crime tale, the end result is incredibly rewarding.

The cast of "A Funny Man" (Nikolaj Lie Kaas in the center)


A FUNNY MAN (dir. Martin Peter Zandvliet) 
The director’s follow-up to Applause (for which Paprika Steen was a medalist right here in Nathaniel's film bitch awards) is a biopic about Dirch Passer (Nikolaj Lie Kaas), one of Denmark’s best known comedians. Once again, Zandvliet has given us an insightful look into the troubled life of an artist, one who’s always faced with the struggle of transitioning his successful comedic career into that of a serious dramatic actor. Much of the film is similar to what we often see in biopics that cover the bulk of the protagonist’s life, but don’t let that throw you off. A Funny Man is an emotional film that can make you laugh, cheer and cry at the same time and there are truly great performances in it. Nikolaj Lie Kaas (of Brothers and The Idiots fame) is a marvel as the late Passer and embodies both his comic genius and his dramatic talents to the same effect. Even better is Lars Ranthe as his partner Kjeld whose subtle turn in this demanding role is sensational. Both actors would have been easy gets for Oscar nominations had this film been in English. The film’s real champ for me, however, is Sune Martin, whose soothing, gentle score is even better than the eccentric work he did for Applause.  


LOVE & BRUISES (dir. Lou Ye)

This was the beginning of my most disappointing day at TIFF. I was excited to see this for Tahar Rahim (Un Prophete) but my enthusiasm died down just a few minutes into the film. Ye’s hollow and underdeveloped love story between Hua, a Chinese teacher (played by Corinne Yam) and Mathieu, a French construction worker (played by Rahim) who meet by accident on the street of Paris was anything but lovely. One-dimensional characters, a sexist and judgemental view of relationships and an inconceivable plot make it one of the weakest scripts of the year.


Rahim tries but the script gives him very little to work with. Worse still, the film gives us a whopping total of ZERO reasons to like Hua’s character who’s inexplicably adored by almost every man she meets. Though, I'd add that my reasons for disliking Hua all relate to how flatly written the character is which is entirely different from the misogynistic reasons the film itself seems to hate her. Lest you think sexism is the film’s only fault, its on-the-nose depiction of social class division is surprisingly even more distasteful. I’d give this film a straight "F", but I’d probably listen to Peyman Yazdanian’s score out of context, so a "D-" would be fair. 


CUT (Amir Naderi)

I’d like to say it was the after-effect of the previous screening that made me abandon this halfway through, but Cut was no masterpiece either. The film opens with a sequence that begs for our sympathy as a cinephile walks the street yelling “they’re killing pure cinema. Today’s films are only for entertainment” into a megaphone. Then, in a contrived turn of events, he becomes a human punching bag for inexplicably violent men in order to pay his deceased brother’s debts. The film’s subpar production values and mediocre acting weren’t helping its cause but I shouldn't express opinions on a film I haven’t watched in full. Perhaps a miracle of improvement happened after I left?  


>Final Weekend: back-to-back screenings of Marjane Satrapi’s Persepolis follow-up and Andrea Arnold’s Wuthering Heights which has just been picked up for distribution (albeit in 2012), actressy musicals and Joachim Trier still to come.




Something is Golden in the State of Denmark.

Hot off an Oscar win in February for In a Better World, Denmark has announced their follow up contender ...or at least their intention to announce it. The land of my ancestors has narrowed down the past year in Dansk film to three tre: SuperClásicoMartin Zandvliet's Dirch (A Funny Man) and Pernille Fischer Christensen's En familie (A Family). 

En Familie, which my Danish informant Thomas (tak!) predicts will be the selection is a drama about a wealthy family with a dying patriarch. Jesper Christensen stars. You might recognize him from the Daniel Craig Bond films (he plays Mr White) or from the popular Swedish flick Everlasting Moments. He's also in Melancholia this year though I don't know how large his role is there.

SuperClásico is a divorce comedy which actually takes place in Buenos Aires. No word yet on whether that naked bum on the poster is Argentinian or Dane in origin ;). It's from the director of Flame & Citron, a film that got a healthy festival run a few years back. Important Note: Paprika Steen headlines and you'll recall that she was the Film Bitch Silver Medalist right here in last year's "best" celebrations. It'll be nice to see her smile this time around!

Nathaniel's Favorite Danes: Paprika Steen (SuperClásico) and Nikolaj Lie Kaas (Dirch)

The final contestant, Dirch or A Funny Man is a biopic about a famous Danish comedian. It stars Nikolaj Lie Kaas who you may have seen in Lars von Trier's The Idiots or famous Scandinavian films like Reconstruction or Brothers (he originated the role that later housed Jake Gyllenhaal). He's only recently started to branch out into English language films (something many Scandinavian giants do albeit usually in minor supporting roles) so you might have also seen him in Angels & Demons or in Whistleblower, Rachel Weisz's Oscar bid, which recently opened here in the States. You might think that Dirch would be too homegrown specific for Oscar submission but you never know. There are always a few biopics in the 60+ wide submission list of people who are infinitely more famous in their home countries than abroad.

IN DARKNESS, Poland's Holocaust Themed Oscar EntryMore Best Foreign Film News
GREECE, which up until last year's Dogtooth, hadn't been nominated since 1977 (and has never won), will submit Attenberg, which you'll recall won the Best Actress prize at the Venice Film Festival last fall. 

POLAND, 8 nominations / zero wins, will submit Agnieska Holland's In Darkness which In Contention made the following funny about. 

Poland... appears to have intensively focus-grouped the Academy’s foreign-language branch and subsequently created their Oscar entry in a purpose-built lab: a true-life Holocaust drama about a Leopold Socha, a reformed petty criminal who heroically helped numerous Jewish refugees hide in the sewers of Nazi-occupied Lvov.


Holland was previously nominated for best screenplay for her arthouse hit Europa Europa in the early nineties, also a Holocaust drama.

What does all this mean? That I've got to start building the Oscar Foreign pages again. (My work is never done!) In case you missed it... here's the discussion about what Norway might submit.