Danish director Bodil Ipsen demonstrates her devotion to American “film noirs” in Red Meadows. Set during WWII, the film concerns the exploits of a group of Danish resistance fighters. Ipsen raised a few eyebrows back in 1950 for her comparatively sympathetic portrayal of a German occupation officer who befriends a member of the underground — though he was careful to show the bestiality of the Nazis during a grueling torture sequence. The story ends with a rousing gun battle and a desperate escape bid. Red Meadows is allegedly based on a true story.
The story opens just before Christmas, when solitary, apathetic bank clerk Flemming Borck uncovers a plot to rob his bank. (It’s a convoluted set-up, so we’ll just leave it at that.) After doing a little rookie recon, Borck identifies the would-be bank robber as a faux shopping-mall Santa Claus, and counter-plots to steal the money himself and let Santa take the blame. This works out about as badly as you might imagine, and our bumbling protagonist spirals further and further away from the carefree, laconic lifestyle he had hoped to ensure for himself.
Two common working-class people, Robert and Jenny, meet one day in a bar. After Robert defends Jenny against her date, a district attorney’s chauffeur, who is trying to get her drunk, they begin a relationship. She soon discovers that she will be tried in court for an abortion she needed a few years previously. Her parents disown her and she loses her job as a saleswoman. Robert stays with her, admitting his own responsibility for killing someone when he was 17 years old. Distraught at the thought of going to prison, Jenny convinces Robert to commit suicide with her. Just as she is planning the suicide, her lawyer comes and announces that the case has been dropped.
After two years in a mental institution, housewife Kira comes home to her husband, Mads , and their children, hoping to reconnect with her family and get on with her life. But things go wrong almost immediately, as she hysterically, though not without reason, accuses Mads of infidelity. After she confronts her father about family secrets, Kira’s mental stability deteriorates even further, and she and her family must decide what course to take.
In his fourth feature, Århus loyalist Nils Malmros continues his reminiscing fiction portryals of school days in the 1950s. You follow a class during its final years of grade school. The kids are teenagers, clannish, clownish, sweet and vicious, struggling to make sense of their physical and mental growing pains. The film was shot over two years: the cast literally grew up along with the action.
Young boy whose father was from Denmark and mother from a tropical island must live with his paternal aunt in Denmark. His skin color becomes an issue right away and he decides to escape and live in the forest.
Mmiddle-aged conductor Wolfgang is tired and so he should be. His mother is in the front row of the concert hall, the only listener. On top of that one of the musicians refuses to play. Wolfgang tries his very best to make things work, in vain it seems, but even middle-aged men have to look for happiness in the autumn of life. But as always, mother gets the last word.
Produced by the Municipality of Copenhagen and the Port of Copenhagen Authority the film draws with self-irony a frank and informal picture of the Danish capital, laying stress on the poetry to be found in the picturesque details of ordinary everyday life in the streets, the harbour, the social institutions, the amusement parks etc.