Submarino (2010) 7.4
Two brothers meet at their mother's funeral, each in his way on a path of self-destruction, both haunted by a tragedy in their youth. Director:Thomas Vinterberg |
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Submarino (2010) 7.4
Two brothers meet at their mother's funeral, each in his way on a path of self-destruction, both haunted by a tragedy in their youth. Director:Thomas Vinterberg |
|
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| Cast overview, first billed only: | |||
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Gustav Fischer Kjærulff | ... |
Martin
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Sebastian Bull Sarning | ... | |
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Mads Broe Andersen | ... |
Lillebror
(as Mads Broe)
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| Jakob Cedergren | ... | ||
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Peter Plaugborg | ... | |
| Patricia Schumann | ... | ||
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Morten Rose | ... | |
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Henrik Strube | ... |
Jimmy Gule
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Helene Reingaard Neumann | ... | |
| Dar Salim | ... |
Goran
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Esther Hancock | ... |
Nabokonen Vørle
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Henrik Petersen | ... |
Forsvareren
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Lisbeth H. Pedersen | ... |
Sagsbehandler
(as Lisbeth Holm Pedersen)
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Elias Ehlers | ... |
Carsten
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Mei Oulund | ... |
Drengenes mor
(as Mei Oulund Ipsen)
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As children, Nick and his little brother take care of their baby brother while their mother drinks herself senseless. But the baby dies, and both brothers blame themselves. Many years later, Nick is out of prison after serving time for an assault. He drinks, lives in a shelter and tries to help an old friend. When their mother dies, Nick meets his brother at the funeral. The brother, who remains nameless, is a single father to a young boy, but also supports a drug habit that is spiraling out of control. When an opportunity presents itself, he becomes a drug dealer to secure his son's future. Eventually, the two brothers meet again. Written by Peter Brandt Nielsen
Still involved in his preoccupations with collapse of family foundation and its bonds (as evident also in his fantastic Dogme 1, FESTEN), Vinterberg comes back to Berlin with a film which is not about love at all, but about misery in general. SUBMARINO is the story of lack of love, family and commitment which is reflected in addiction, despair and murder. Looking through a glass darkly at the depressed people in times of depression, it gains its strength from the constraint approach to the subject matter. In his usual personal visions (of course, without a trembling camera after his Dogme propaganda and anti-bourgeoisie pretense), Vinterberg finds his way through a way far from any sentimentality. Grey overtones in each shot marks the world he's going to portray a world in which everyone has forgotten all about fear and trembling. However it seems too naturalistic, SUBMARINO is able to make a survey into the lives of miserable men of the third millennium, not as a tearjerker, but as a veritable mirror