Open Hearts (Elsker Dig For Evigt)2002
Open Hearts (Elsker Dig For Evigt) (2002)
Critic Consensus: Pulsing with honesty, this film lays bare the rawness of human emotion with a story made all the more believable thanks to its gritty, low-budget approach.
Open Hearts (Elsker Dig For Evigt) Photos
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Critic Reviews for Open Hearts (Elsker Dig For Evigt)
A small-scale domestic drama with large-scale feeling.
Susanne Bier's film is a pretty ordinary chapter of everyday sin and, it has to be admitted, pretty misery-making.
Open Hearts is far from inaccessible, but it demands a higher level of concentration than most big-budget movies do. The drama exists in a glance or a nod, or in a slight hesitation in speech.
There is no doubting the heart-rending impact of the story. But because it is made clear from the start that there is no chance of an uplifting ending, viewers may grow restless.
Open Hearts' four lead characters (subtly, wonderfully played) shatter, then piece themselves back together before our eyes.
Audience Reviews for Open Hearts (Elsker Dig For Evigt)
Well, being a married woman I found this film very disheartening. What exactly was the point of all that heartache? I guess I would have preferred to have a storyline with some resolution somewhere. The end of this film was just ungratifying. No wrapping up of loose ends. Everyone was just ruined at the end, and she just drifted away aimlessly. On top of that, it was 2 hrs of watching her go back and forth between men. Not exactly exciting. This is the kind of slow, artsy type of film that critics love to love. Me not always so much...
Late influence of Dogma 95. The Dogma certification in the opening credits had a strange effect on me, as going against the movement itself. Dogma 95 manifesto is very interesting, but it's reflection on contemporary cinema and on film as art and not illusion are not new (Italian neo-realism, cinéma vérité) as it's not only avoiding technical manipulations that we will be able to reach the "naked cinema". Most background music are definitely an artifice to manipulate spectator - I won't mention visual effects, let's keep it simple - but in the same way we can find truth beyond technique, we can be duped by so-called reality (how true can a documentary be?). "Elsker dig for evigt" can follow almost every rule of the manifesto, but it is still a fiction that will "work" on our emotional as any other film would. When "Le scaphandre et le papillon" and "Mar Adentro" focus more on the patient's vision, "Elsker dig for evigt" focus on how the paralysis affects other's life, on Cecilie's journey through her pain. Pay attention on the opening scene, final credits and song that goes together: "lighting is not acceptable, optical work and filters are forbidden". Was that supposed to work as a contradiction to reality or they are just there? "Music must not be used unless it occurs within the scene being filmed". And the song that plays when Cecile is sleeping in the hospital with Nikolaj, for example? If "reality" is one of its strong points - in lot of scenes, the lack of "superficial" acting let it more superficial as iit'd be in a play - "reality" had been better explored by names as Andy Warhol (Eat, Sleep, Kiss, etc ), John Cassavetes and Abbas Kiarostami, just to mention some, no matter if they shot in digital video or on film or if they used or not well-known technical devices.
Lives are changed in an instant when a doctor's wife, Marie (Paprika Steen), accidentally runs down Joachim (Nikolaj Lie Kaas) and he winds up quadraplegic. Marie's husband, Niels (Mads Mikkelson), offers comfort to Joachim's fiance, Cecile (Sonja Richter), which becomes something more than aid and comfort. A lot of raw emotions are on display here as Joachim at first pushes everyone away. By the time he comes to terms with his injury, Cecile has moved on, although unable to admit it to herself. Excellent production that pulled no punches. No one escapes unscathed. Each of these four people, plus Niels' and Marie's teenage daughter, Stine (Stine Bjerregaard), who blames herself for the accident, are put through the ringer and come out the other side forever changed but somehow equipped to go on. All of the various parts are rearranged but functional. A wholly believable tale, competent actors, and interesting camera work on a film from the Dogme school and directed by Susanne Bier. This viewer found it impossible to watch without empathy for each of the characters' torments.