IMDb > Reconstruction (2003)
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Reconstruction (2003) More at IMDbPro »

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7.4/10   6,084 votes »
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Down 41% in popularity this week. See why on IMDbPro.
Mogens Rukov (writer)
Christoffer Boe (writer)
View company contact information for Reconstruction on IMDbPro.
Release Date:
26 September 2003 (Denmark) See more »
It's all film. It's all construction. But even so, it hurts.
A young man who thought himself already in love with a nice girl is drawn into a literary drama when he is captured by a deep and stimulating love affair. Full summary » | Add synopsis »
12 wins & 10 nominations See more »
(23 articles)
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User Reviews:
sheer glossy beauty, backed by smart editing See more (30 total) »


  (in credits order) (complete, awaiting verification)
Klaus Mulbjerg ... Tryllekunstner

Nikolaj Lie Kaas ... Alex David

Maria Bonnevie ... Simone / Aimee

Krister Henriksson ... August Holm

Nicolas Bro ... Leo Sand
Peter Steen ... Mel David
Ida Dwinger ... Monica
Malene Schwartz ... Fru Banum (Mrs. Banum)
Helle Fagralid ... Nan Sand
Mercedes Claro Schelin ... Mercedes Sand
Jens Blegaa ... Waiter
Isabella Miehe-Renard ... Journalist
Katrin Muth ... Bartender

David Dencik ... Bartender

Directed by
Christoffer Boe 
Writing credits
(in alphabetical order)
Christoffer Boe  writer
Mogens Rukov  writer

Produced by
Lars Kjeldgård .... co-producer
Tine Grew Pfeiffer .... producer
Åke Sandgren .... co-producer
Original Music by
Thomas Knak 
Cinematography by
Manuel Alberto Claro 
Film Editing by
Peter Brandt 
Mikkel E.G. Nielsen 
Casting by
Anja Philip 
Production Design by
Martin de Thurah 
Costume Design by
Gabi Humnicki 
Makeup Department
Henrik Steen .... makeup department head
Production Management
Johnny Andersen .... production manager
Art Department
Torben Stig Nielsen .... property master
Hans Erik Olsen .... painter
Sound Department
Morten Green .... sound
Nino Jacobsen .... sound re-recording mixer
Julien Naudin .... foley artist
John Nielsen .... boom operator
Camilla Mauritzson Skjaerbaek .... dialogue editor (as Camilla Mauritzson)
Mark Kenna .... consultant: Dolby film sound (uncredited)
Visual Effects by
Lars Bjørn Hansen .... digital effects
René Rask .... matte painter
Stig Günther .... stunt coordinator
Camera and Electrical Department
Jakob Bonfils .... Steadicam operator
Niels A. Hansen .... clapper loader (as Niels Hansen)
Tobias Juhl .... lighting assistant
Andreas Kragh-Jacobsen .... additional lighting assistant
Sune Lolk .... gaffer
Linn Sandholm .... still photographer
Søren Sielemann .... additional lighting assistant
Peter Topsøe-Jensen .... first assistant camera
Editorial Department
Ejvind Bording .... color timer
Jan Degn .... colorist
Jonas Drehn .... colorist
Christina Isabel Emdrup .... post-production assistant
Tove Jystrup .... post-production coordinator
Michael Jørgensen .... assistant editor
Adam Nielsen .... trailer editor
Glennie Pettersson .... post-production assistant
Kaspar Astrup Schröder .... assistant editor (uncredited)
Other crew
Ada Kaalund .... accountant
Jorunn Keller .... script supervisor
Bibi Malby .... production assistant (as Bibi Husted Malby)
Hanne Merkx .... accountant
Gitte Nielsen .... accountant
Lone Sloth .... accountant
Carsten Sparwath .... location manager
Jeppe Tolstrup-Møller .... location scout
Sophus K. Windeløv .... production runner (as Sophus Kirkeby Windeløv)
Henrik Zein .... accountant

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
Rated PG-13 for some sensuality and brief strong language
France:91 min (Cannes Film Festival) | Germany:89 min (Filmfest Hamburg) | Argentina:91 min | USA:90 min | 92 min (original release)
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:

Did You Know?

Narrator:He loses Aimee.The last person that was left for him. The only one... Can their love survive? What will it take?
Narrator:A test.For him and for her. His love for her. Stupid? Maybe.
Narrator:If he steps back... if he doubts... she will disappear.
See more »
Movie Connections:
Featured in Året der gik 2003 (2003) (TV)See more »
Mad. Ave. Perfume ADSee more »


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16 out of 23 people found the following review useful.
sheer glossy beauty, backed by smart editing, 7 February 2005
Author: genderfree_mda from romania

First things first: I find pointless to summarize the plot, therefore I'll stick to my own thoughts about it.

Grainy fade-outs, near-flawless performances, mind-gripping in its non-linear simplicity plot, endless possibilities (if you are prone to indulging in analysis) and a precise, clean-cut overall aspect- are all there, in Boe's beautiful, if slightly formal, first long feature.

This film dodges, quite effortlessly, the one major shortcoming (if you ask me)of Last Year In Marienbad, to which it has been compared; unlike the former, Reconstruction manages, through unmistakably warm-bloodied and wrapped in smoke actors'performances, to surpass the cartoonish, slightly de-humanized concept that pervades Resnais's (i dare utter the word) masterpiece. In other words, the characters are a significant little more than archetypes, they are individuals. Subsequently, the three A's (Alex, Aimee-stunning Marie Bonnevie- and August) stir vaguely-rooted emotions in the spectator, aided by the 3-dimensionality of their acting and enhanced by innumerable, purposeful close-ups and near-perfectly-fitted music.

The intelligent rather than inventive script receives "thumbs up" not for itself but for its glossy, yet not sultry, rendition by often unbearably beautiful shots. Also, the demure approach to sexuality speaks volumes about the power of the camera&actors unity to suggest powerful feelings.

The coherent-enough story (don't let yourselves taken in by deceptive ambiguity) escapes down-and-out moronic de-constructivism for its own sake, allowing thus the average movie-goer to suck the film in, irrespective of his cultural background.

Although data about the characters arrives in dribs and drabs, the film is carefully plotted and succeeds in keeping the spectator's interest up till the end. August, in spite of apparent filmic omnipotence, is bare-handed against the efficiency of tender, scintillating and dizzying love story; the real puppeteer is the director, through his double, the cigarette-levitating, literal charmer, who pulls the strings in this bittersweet faerie. So, once you've learned the ropes of his editing choices and non-linear story ( the 3 possibilities/photos the woman has and other details), which require at least one viewing, Reconstruction becomes more than a feast for the eye. It allows a sensitive insight into a terribly fragile dreamlike world: Orpheus is supposed never to doubt the flesh-and-bone unseen certainty of being followed by Euridice on their way out of the Inferno. The visually enticing, effective portraying of Alex and Aimee's every movement offers precious glimpses of their innermost thoughts.

Speaking flaws, a restraint from taking risks in points of frame composition (aka predictable angles, never going off the beaten track) is quite obvious BUT it actually seems reassuring. Also, the absence of a clear message might affect the appreciation of a part of the public, BUT this is small concern for the director, whose primary aim (stated in August's voice off, in the beginning) is not to convey a moral attitude or a manifesto, but to ease pure delight on the spectators. Nevertheless, the I-cannot-relate-to-it factor breeds suspicion as to the actual relevance of what we see = Why should I care? Meaning, this seemingly inconsequential display of beautiful shots and silences can't extend its influence beyond the immediacy of the 90min viewing. BUT this is highly-debatable, if you take into account different responses from different people.

What I've just said about Reconstruction is hopefully not a gratuitous eulogy, but a considerate comment on what seemed to me a remarkably 'polished' if visually engrossing experience. Throughout the film, one gets the impression of intruding, of being a nosy Parker in an almost perfect, smoothly-trimmed, classy-as-heaven human landscape. Not an emotionless cine-verite, not a sweeping melodrama, not a frowningly guru-ish food-for-thought crap, Reconstitution proves warm enough to be cherished, praiseworthy in terms of cinematography, an outstanding and promising debut.

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Camera used for filming michaeldanslarue
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