After The Wedding (Efter Brylluppet)

After reading the tagline 'Champagne is poured...Secrets are spilled," I was not expecting much out of this Oscar-nominated Danish drama. The plot is as thick as they come, and if the script hadn't summoned an abundance of talent to back up its Hollywood-like storyline - this review might be rather different.

Susanne Bier directed, and co-wrote (with screenwriter Anders Thomas Jensen), while remaing true to some of her Dogme ideals by using shakey, unflattering close-ups of somewhat brave, oddly attractive, and extremely talented actors. The aesthetic of the film is that of realism with an ocassional metaphoric montage of stuffed animals mounted on red walls, and flowers thriving or dying - I already feel that my description of the film isn't doing it justice. Perhaps this film is also successful by the fact that it can only be appreciated by watching it, while being widely misunderstood if only explained through verbiage.

Mads Mikkelsen (Casino Royale) plays Jacob Pedersen who is a stubborn, social activist, and runs a struggling orphanage in Bombay, India. He is a Danish ex-pat whose only friend is Pramod (Neeral Mulchandani), a boy who Jacob has raised since infancy. Pramod is reluctant to face the reality that Jacob needs to go to Cophenhagen when he is summoned by a billionaire interested in funding the orphanage that would, otherwise, inevitably close its doors in the following months. This surrogate father, whom Pramod calls "Mr. Jacob" (along with fifty other orphans) is the only he family knows. For those whose stomachs might be more sensitive than their hearts, no worries; this scene, like many others in the film, is underplayed rather than over.

The contrast of the luxury hotel that Jacob has been provided with in Copenhagen manages to come across as humorous in comparison to the living conditions in Bombay. In one way, it is sad that we can detach ourselves to such harsh realities as Westerners; on the other hand, kudos to the director for, once again, avoiding the temptation to turn this into a pity party.

Jacob meets with formidable businessman, Jorgen Hansson (Rolf Lassgard). Mystery begins to surface when Jorgen seems disinterested in the nuts and bolts of the orphanage, discloses the possibility of a four million dollar donation that he'll think about over the weekend, and tops it off with an odd insistence that Jacob come to his daughter, Anna's (Stine Fischer Christensen), wedding tomorrow.

Jacob shows up only to find that his life has changed dramatically when he meets former flame, Helene (Sidse Babett Knudsen), who is also Jorgen's wife. Coincidence that Jacob is here with an ex-flame on the day of her daughter's wedding? I think not. Is this beginning to sound like a soap opera? Understandable. But for a film whose plot surfs along Hollywood undercurrents, it emphasizes the reaction of each character with reverent honesty.

Throughout tumultuous dramas within the film (and there are several more to come after the wedding), there are many quiet moments that allow us to marinate with the characters, and absorb the situation at hand. It makes us feel as though this could happen to anybody, and much of it has - just not all of it. These unhurried, awkward moments are what make "After The Wedding" incredibly different from so many other melodramatic films. I give it four out of five stars for being one that sticks out among thousands, and being light on the cheese while at it.

Offside

Golden Berlin Bear nominee, and Silver Berlin Bear winner, "Offside," is a psuedo-documentary whose feel is emphasized by the use of non actors, near real-time shooting, and occasionally, a handheld camera. The writer, producer, director, Jafar Panahi is a widely acclaimed director; winner of twenty-three awards, and five nominations. He is also the director of "Dayereh" ("The Circle"), a less comedic film that criticizes the treatment of women in Iran, and is banned by the Islamic Government of Iran. "Offside" has not yet been cleared for release in Iran.

It is the World Cup 2005, Iran versus Bahrain. Throngs of soccer fanatics fill the streets wearing jerseys, flags, and other sports paraphernalia. The majority of the fans have two things in common; they are all headed towards the stadium, and they are all men - most of them anyway. In Iran, women are not allowed to enter sports stadiums for fear that they would be exposed to an onslaught of harsh language that the impassioned male audience would naturally indulge in.

Nonetheless, six women who are serious soccer devotees, mostly unaware of each other, attempt to sneak into the stadium with a variety of amusing costumes - all attempting to resemble men. But by the middle of the film, they are all held captive in a make-shift pen that is adjacent to a stadium entrance where the game can merely be overheard. The soldiers are dim-witted country boys, and the women held captive are sharper, more assertive than your stereotypical Middle Eastern woman. This makes for amusing dialogue at times.

The film is riddled with situations, behaviors, and decisions all aimed towards showing the hypocrisy of this particular law. The soldiers curse while watching the game through the entrance - all in earshot of the captive ladies in drag. Bahraini women who gathered by the entrance (though, are never shown) are eventually allowed entry, but placed in a glass room to "protect" them from foul language. One of the more convincing women in drag asks about the Japanese women that were allowed into the stadium to view the recent Japan versus Iran game. The most convincing argument the soldier can come up with is that those women don't understand the language.

The film is paradoxically light-hearted - though it focuses on such important issues. With its wit, and subtext, "Offside" manages to be simultaneously entertaining, and poignant. It ends with a sense of hope pertinent to keeping these young women moving forward. It is, without a doubt, a must-see.