After his many escapades with a wide variety of both movements and film industries, the Danish director Susanne Bier has finally achieved the highest award that year American Academy-year delivery always so shy, a movie that came with some claim to greater artistic intensity that is disguised under the category of best foreign film. Hævnen , whose literal translation is Danish Revenge, is intended as a comparison of two worlds, despite being separated by abysmal cultural and ethnic differences, are bound by the instinctive and uncontrollable violence that lies at depths of the human being. This comparison falls into increasingly widespread practice of social conditions of a continent. White Material (2009) and Incendies (2010) are clear examples of this trend, which is contextualized a large geographical region based on the entrenched stereotypes that Westerners perceive it, so much he even ignores the geographical location of the story. Unfortunately for Bier, both excellent films that manage to mention, nevertheless, its role by far, while Hævnen is simply insufficient exercise.
The screenplay by Anders Thomas Jensen, who has become an inseparable element of Bier's film, has a great premise. The intense relationship of complicity that exists between two children who study in a Danish school, which revolves around the father of one of them working as a volunteer doctor in a remote African country, presents the ideal setting to develop a lot of truly momentous issues that actually arise with great success during the first half of the tape .
Once established the motivations and traumas of the two child characters, supporters of using violence as a method of balancing the social system and the complex also established modus vivendi the doctor, played by so formidable Mikael Persbrandt , the film is separated from the right path to a successful conclusion very few of the questions initially raised and lost in a predictable anecdotes that is completely alien to the brilliant start of the tape.
Technically impeccable Morten Søborg work behind the camera, which recreates the African landscapes and the faces of the actors, who played with the passage of long shots to medium shots short in tenths second, creating interesting effects and shooting a closing credits sequence frankly astonishing.
Hævnen is a clear example of the formula to get an Oscar and although I'm happy for Bier, because if anything is clear is that this woman is passionate about film, I could not help feeling slightly disappointed with this film.
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