DFI - Danish Film Institute [DK] - Production companies - Cineuropa
DFI-FILM · Danish Docs at IDFA OVERVIEW. Explore the full list of Danish titles to be showcased at this year's big doc fest in Amsterdam, running Ten Danish films and co-productions are selected for Cartoon Movie in Lyon. Overview Cartoon Meet the producer of company Nice Ninja. Producer Cartoon. Danes are mainly familiar with the history of the Holocaust and the Nazi Puszczynska were in Copenhagen to meet with Danish composers.
The premiere of the film was planned to be at the 21st International Peace Congress, scheduled to start on 15 September in Vienna in honour of Bertha von Suttner. The Baroness died 21 Junebefore the shots in Sarajevo and the collapse of the hopes for a peaceful future; the congress was cancelled. Instead, the film was first shown in the United States in the autumn ofand released in Denmark almost a year later on 18 September For a modern viewer, the battle scenes and the general approach to war in the film appear melodramatic and highly dated, as already mentioned, which also seems to have been the case for contemporary viewers as the harsh realities of the real modern war soon changed the way war was perceived.
Yet, it did influence especially the American public and politicians at the beginning of the war. The ambitious film — the programme states that it consisted of no less than 90 scenes — was directed by Alexander Larsen However, besides its contemporary themes, it does not seem to be influenced by or related to the real war.
Pro Patria, directed by August Blom and with the greatest Danish male film star at the time, Valdemar Psilanderin the leading role Psilander tragically died at age 32 the following year. When war is declared, the general forbids his daughter to see Alexis, who is now his enemy.
Lieutenant Alexis returns to his native country and joins the army and, while at the front, he hears about a planned surprise attack on the enemy. Alexis is shocked by this cowardly scheme and decides to warn Elsa via a carrier pigeon she has given him to use if he is in danger.
Among the fallen is Alexis, who defended the last enemy trench, Lieutenant Erich tells Elsa, who volunteered as a nurse at the beginning of the war and who is stationed at a camp hospital nearby. They search the battlefield together and find Alexis — who is still alive. The enemy only has one fortress left, which Erich volunteers to attack single-handedly.
DFI - Danish Film Institute [DK]
The plot is rather melodramatic and unrealistic. This film tells the story of a young officer torn between his love and his duty towards his country. The moral of the film clearly states that the duty which the soldier owes to his country precedes all others — even that of his love.Reasons Why Danes Are Weird
This film tells the melodramatic story of another unspecified country, whose old, peace-loving king dies, whereupon the country is forced into a war with the neighbouring state. She joins the Red Cross — as the archetypical female figure of the real war did. Her brother and his best friend, who comes from the neighbouring state, meet on the battlefield and are both killed. Finally, the lovers Bianca and King Alexis are married.
The film, which was released 22 Februarytells the story of a trip to Mars, as the English title indicates, where the primitive war-prone earthlings encounter a peaceful and far more developed culture among the Martians. In the end, however, it appears that it was just a dream and that the soldier has died. Consequently, the dominant genre was the melodrama, which seamlessly fitted both heroic and especially tragic anti-war films that became the method of narrating the war in a small neutral country.
Still, an export oriented film industry like that of the Danish, especially Nordisk Film, was forcefully impacted by the increasing number of warring nations and, in particular, the loss of the US market. In the late s, when an anti-war frame became the dominant way of understanding the war, Hollywood became the unquestionable leader of world cinema and Nordisk was not able to use its former strength and knowledge about this particular genre.
Danish films dealing with war in more or less direct ways and especially the ones dealing with and shot during the First World War did so without directly criticising the belligerents, in particular the southern neighbour, Germany. The trauma of the war and the loss of the Danish speaking parts of Schleswig was, understandably, avoided as a topic, as was the German U-boat war against neutral merchant ships. However, the screen version of the play from turned it into a typical Danish popular comedy, altogether leaving out any trace of the war.
Eric lives in England, and it would seem obvious to be based there, but right now Denmark has better funding opportunities. Also, the UK is not a member of Eurimages, which is an important funding option for us.
For those reasons, we have now moved our activities to Denmark. It was always our intention to increase our activities in Denmark and we are actively pursuing partnerships with Danish directors and screenwriters. Pawel Pawlikowski and producer Ewa Puszczynska were in Copenhagen to meet with Danish composers and sound post houses I had recommended. Pawel used to be a musician and music and sound are very important to him. Kristian Eidnes is uncommonly skilled and experienced.
He nailed the tone of the film and had good chemistry with Pawel. Denmark has a strong sound post tradition and there are some really skilled people in the field.
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We have worked with Ministi Film before and we knew we would get a soundtrack of the highest quality. There are no effects you can hide behind.
Opus Film Ida Poland, Anna is a novice, an orphan raised by nuns in a convent. Before taking her vows, she has to see Wanda, her only living relative. Anna is Jewish, Wanda tells her. Questioning their religions and the ideas they once believed in, both are trying to go on living, but only one of them can. Pawel Pawlikowski, Director of Ida Director.
Today Pawlikowski is considered a British director, having worked in the British film industry since the s.