Lise (Flora Ofelia Hofmann Lindahl) couldn’t be happier now that she knows her mother’s (Ida Cæcilie Rasmussen’s Anna) determination has successfully overcome her father’s (Thure Lindhardt’s Anders) objections about sending her to school. It’s the late 1800s after all. A big reason why a farming family such as theirs has so many children is to work the land. Sending off the eldest at fourteen isn’t therefore conducive to their home’s machinery—especially since Anders has no qualms with leaving the daily chores to his sister, mother, daughters, and servants while leaving for hours on end. If Lise had anyone else to thank besides her mother for the miracle that is her impending emancipation, it would therefore have to be God. Unfortunately, God’s will has never been purely optimistic.
Based on the 1912 novel by Danish author Marie Bregendahl, writer/director Tea Lindeburg...
Based on the 1912 novel by Danish author Marie Bregendahl, writer/director Tea Lindeburg...
- 9/10/2021
- by Jared Mobarak
- The Film Stage
Title is Danish filmmaker Tea Lindeburg’s debut feature.
LevelK has boarded international sales rights to Danish filmmaker Tea Lindeburg’s debut feature, As in Heaven, which has been confirmed for Toronto’s Discovery section and will also screen in the main competition at San Sebastian.
Writer/director Lindeburg has previously worked in television and is the creator and writer of the Danish Netflix production Equinox.
As in Heaven follows 14-year-old Lise, the eldest of her siblings, who experiences the harsh reality of farm life in the 19th century. She is poised to become the first in her family to go away to school,...
LevelK has boarded international sales rights to Danish filmmaker Tea Lindeburg’s debut feature, As in Heaven, which has been confirmed for Toronto’s Discovery section and will also screen in the main competition at San Sebastian.
Writer/director Lindeburg has previously worked in television and is the creator and writer of the Danish Netflix production Equinox.
As in Heaven follows 14-year-old Lise, the eldest of her siblings, who experiences the harsh reality of farm life in the 19th century. She is poised to become the first in her family to go away to school,...
- 7/28/2021
- by Wendy Mitchell
- ScreenDaily
"At least we can be old together." Samuel Goldwyn Films has released an amusing official US trailer for the upcoming US released of a charming Danish comedy titled Food Club, originally Madklubben in Danish. This originally opened in Denmark last fall, and arrives on VOD in the US this March. The film follows three longtime girlfriends from elementary school who are coming into their prime and finding a new lease on life after participating in a cooking course in Italy. Marie, Berling, and Vanja travel to Italy together to attend a cooking course in Puglia, where they each find the opportunity to redefine themselves and acknowledge that the most important thing in life is their friendship and that it’s never too late to live a more fulfilling life. Awwww. The film stars Kirsten Olesen, Stina Ekblad, Kirsten Lehfeldt, Michele Venitucci, Troels Lyby, Rasmus Botoft, and Mia Lyhne. This looks...
- 2/5/2021
- by Alex Billington
- firstshowing.net
Samuel Goldwyn Films has acquired North American rights to the uplifting Danish drama “The Food Club” from Scandinavian sales and aggregation banner LevelK.
Although it has yet to have an international premiere, “The Food Club” has been acquired for more than 30 territories. Besides selling to Samuel Goldwyn Films for North America, the movie was picked up by SquareOne for all rights in Germany, as well as German-language remake rights; The Reset Collective for Australia and New Zealand; Ads Service for Hungary; Big Tree Entertainment for India; Yes Dbs for Israel; T&l for South Korea; and Mirror Audiovisual for Spain.
“We loved this best-ager gem from the very first moment. You just cannot go wrong with great food, great friends, red wine and big laughs in Puglia,” said Al Munteanu at SquareOne.
Set in the lush countryside, “The Food Club” is headlined by three well-known Scandinavian actresses: Kirsten Olesen (“The Bridge...
Although it has yet to have an international premiere, “The Food Club” has been acquired for more than 30 territories. Besides selling to Samuel Goldwyn Films for North America, the movie was picked up by SquareOne for all rights in Germany, as well as German-language remake rights; The Reset Collective for Australia and New Zealand; Ads Service for Hungary; Big Tree Entertainment for India; Yes Dbs for Israel; T&l for South Korea; and Mirror Audiovisual for Spain.
“We loved this best-ager gem from the very first moment. You just cannot go wrong with great food, great friends, red wine and big laughs in Puglia,” said Al Munteanu at SquareOne.
Set in the lush countryside, “The Food Club” is headlined by three well-known Scandinavian actresses: Kirsten Olesen (“The Bridge...
- 10/21/2020
- by Elsa Keslassy
- Variety Film + TV
International sales outfit LevelK has acquired the uplifting female-led Danish drama “The Food Club,” directed by Barbara Topsøe-Rothenborg (“One-Two-Three Now!”).
LevelK will be handling world sales rights to “The Food Club” outside of the Nordics. Set in the lush countryside, “The Food Club” is headlined by three well-known Scandinavian actresses, Kirsten Olesen (“The Bridge”), Stina Ekblad (“Wallander”) and Kirsten Lehfeldt (“Men & Chicken”).
The film revolves around three longtime girlfriends from elementary school who are coming into their prime and are finding a new lease on life after participating in a cooking course in Italy.
Marie (Olesen) is abandoned by her husband on Christmas Eve, leading her identity as part of a happy family to crumble; while Berling (Ekblad) is the eternal bachelor who lives the sweet life but has a complicated relationship with her daughter; and Vanja (Lehfeldt) lives with the memories of her late husband and has difficulty moving on.
LevelK will be handling world sales rights to “The Food Club” outside of the Nordics. Set in the lush countryside, “The Food Club” is headlined by three well-known Scandinavian actresses, Kirsten Olesen (“The Bridge”), Stina Ekblad (“Wallander”) and Kirsten Lehfeldt (“Men & Chicken”).
The film revolves around three longtime girlfriends from elementary school who are coming into their prime and are finding a new lease on life after participating in a cooking course in Italy.
Marie (Olesen) is abandoned by her husband on Christmas Eve, leading her identity as part of a happy family to crumble; while Berling (Ekblad) is the eternal bachelor who lives the sweet life but has a complicated relationship with her daughter; and Vanja (Lehfeldt) lives with the memories of her late husband and has difficulty moving on.
- 8/17/2020
- by Elsa Keslassy
- Variety Film + TV
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As UK remake The Tunnel returns, we celebrate Swedish/Danish crime drama The Bridge...
9pm, Saturday night, BBC Four. For the few of us who still, on occasion, watch television when it’s actually broadcast, that timeslot means only one thing: high-quality drama from outside the anglophone world. Okay, so some of the series are less impressive than others, and one or two are in English (remember Australia’s The Code?) but these are exceptions to the rule. What began as a fad, accompanied by much reductive talk of ‘Scandi noir’ and a mildly disturbing national obsession with Sarah Lund’s knitwear, has culminated in a golden age for telly addicts. Our initial resistance to subtitles has faded, and a whole world of often beautifully acted, compellingly plotted drama has opened up. We haven’t strayed very far outside Europe yet, but it’s a start.
Much...
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As UK remake The Tunnel returns, we celebrate Swedish/Danish crime drama The Bridge...
9pm, Saturday night, BBC Four. For the few of us who still, on occasion, watch television when it’s actually broadcast, that timeslot means only one thing: high-quality drama from outside the anglophone world. Okay, so some of the series are less impressive than others, and one or two are in English (remember Australia’s The Code?) but these are exceptions to the rule. What began as a fad, accompanied by much reductive talk of ‘Scandi noir’ and a mildly disturbing national obsession with Sarah Lund’s knitwear, has culminated in a golden age for telly addicts. Our initial resistance to subtitles has faded, and a whole world of often beautifully acted, compellingly plotted drama has opened up. We haven’t strayed very far outside Europe yet, but it’s a start.
Much...
- 4/12/2016
- Den of Geek
Breaking the Waves
Written by Lars von Trier and Peter Asmussen
Directed by Lars von Trier
Denmark, 1996
Director Lars von Trier is nothing if not creative. From films like Epidemic in 1987 and Europa in 1991, to last year’s two-part Nymphomaniac, he has managed to bring a continually imaginative photographic and narrative formula to nearly all of his films, the best of which ultimately end up masterpieces of contemporary international cinema. It was arguably his 1996 feature, Breaking the Waves, that first, and most dramatically, catapulted him to the front ranks of modern-day global filmmaking, particularly within the arthouse arena and festival circuit, and understandably so. This affecting film is a powerful work that delves deeply into often unspoken and unconventional recesses of faith and love. Its themes are profound, its performances staggering throughout, and its visual palette and filmic technique are replete with saturated hues, vigorous camera work, and an unabashed intimacy.
Written by Lars von Trier and Peter Asmussen
Directed by Lars von Trier
Denmark, 1996
Director Lars von Trier is nothing if not creative. From films like Epidemic in 1987 and Europa in 1991, to last year’s two-part Nymphomaniac, he has managed to bring a continually imaginative photographic and narrative formula to nearly all of his films, the best of which ultimately end up masterpieces of contemporary international cinema. It was arguably his 1996 feature, Breaking the Waves, that first, and most dramatically, catapulted him to the front ranks of modern-day global filmmaking, particularly within the arthouse arena and festival circuit, and understandably so. This affecting film is a powerful work that delves deeply into often unspoken and unconventional recesses of faith and love. Its themes are profound, its performances staggering throughout, and its visual palette and filmic technique are replete with saturated hues, vigorous camera work, and an unabashed intimacy.
- 4/25/2014
- by Jeremy Carr
- SoundOnSight
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