Kristoffer is a billboard hanger, 24 years old and carefree. When his girlfriend Elisabeth dumps him for the boss of her trend bureau, his life falls into pieces. He feels like a loser. By ... See full summary »
Nicolai Cleve Broch,
Anders Baasmo Christiansen
Police find two bodies at an old murder scene and evidence to suggest the first victim's husband is a murderer. The husband receives clues suggesting his deceased wife is actually alive and begins to investigate.
A teacher lives a lonely life, all the while struggling over his son's custody. His life slowly gets better as he finds love and receives good news from his son, but his new luck is about to be brutally shattered by an innocent little lie.
Thomas Bo Larsen,
Martin Vinge, (35), former notorious journalist, now successful headhunter with a complicated personal life, is in all confidentiality contacted by 85 year-old N.F. Sieger, S.E.O. of ... See full summary »
Legendary explorer Thor Heyerdal's epic 4,300-mile crossing of the Pacific on a balsawood raft in 1947, in an effort to prove that it was possible for South Americans to settle in Polynesia in pre-Columbian times.
Pål Sverre Hagen,
Anders Baasmo Christiansen,
Murder and trouble hits Veum when he meets up with classmates in the rock-band Camp, when he resumes contact with a former flame Rebecca, now wife of his buddy. A Varg Veum mystery by best-selling crime novel by Gunnar Staalesen. Staalesen.
Trond Espen Seim,
Uno is a story from inner-city Oslo about David, a twentyfive-year-old with few prospects for the future. His days are spent hanging around with petty criminals at an inner-city gym. Still,... See full summary »
In the MARSHLAND a serial killer is on the loose. Two homicide detectives who appear to be poles apart must settle their differences and bring the murderer to justice before more young women lose their lives.
The movie portrays Norway's most spectacular robbery, where 11 men occupied central Stavanger for twenty minutes and escaped with 57 million kroner (appx $10 million). A police officer was shot and killed.
The honorable citizen Nils ploughs snow in the wild winter mountains of Norway, when his son is mistakenly murdered, Nils takes action, which ignites a war between the vegan gangster "the Count" and the Serbian mafia boss Papa.
Hans Petter Moland
Pål Sverre Hagen
Roger Brown works as one of the most powerful headhunters in Norway. To support his extravagant lifestyle, he is also an art thief, which he does in cahoots with his friend, the gun toting Ove Kjikerud. They replace the originals with forgeries, which go undetected at least until the trail back to them goes cold. His outward bravado, based primarily on building upon reputation, masks his insecurities, especially in his short physical stature. He feels he needs that confident demeanor and wealth to get what he wants, including his trophy wife, art gallery owner Diana Brown. However, he almost seems to like the thought of what Diana represents more than Diana herself. As such, he has a mistress on the side named Lotte. The issue of having a baby - Diana wants to get pregnant while Roger doesn't want her to - is another bone of contention in their marriage. The two sides of Roger's professional life intersect when Diana introduces him to Clas Greve, who would be perfect for the CEO ... Written by
Casting for the twin police officers Monsen proved particularly difficult because the twins had to weigh over 220lbs and be identical. Lars Skramstad Johnsen and Gunnar Skramstad Johnsen fit the bill. See more »
The empty bullet casings in the final shootout are much too large to have come from either gun fired. They appear to be rifle shells. See more »
The cut-throat world of Norwegian recruitment consultancy...
Touted as the next Stieg Larsson (or if you prefer, Norway's answer to Sweden's other major literary export, Henning Mankell), Jo Nesbo's Headhunters had already been earmarked for a (no doubt inferior) US remake before it was even released overseas.
Roger Brown (Aksel Hennie) is a 168cm recruitment consultant with a big house, a beautiful wife and an inferiority complex that drives him to moonlight as an art thief. The prosaically named protagonist is no Thomas Crown - he steals to keep a (wildly overleveraged) roof over his head and only pockets a measly 30% of the revenue from his ill-gotten gains. Even his appearance is counterintuitive - more bug eyed Steve Buscemi than suited and booted Bond. Even so, there's more going on here than meets the eye, but suffice to say that his real troubles start when he decides to go after The Big One - the retirement score that will put an end to his financial troubles and allow him to keep his ridiculously attractive wife in the style to which he's become accustomed.
To say anything more about the plot would be superfluous, but I will take a moment to admire the confidence of the director Morten Tyldum. Headhunters is, in a sense, typically Scandinavian - stark, brooding and with as much silence as dialogue. The style here serves the substance - the camera is often completely immobile, forcing the audience to concentrate on what's going on, a complete contrast to the craftsmanship/gimmickry more typical of glossy mainstream thrillers coming out of the US. Rather than spoonfeeding the audience every single clue, Headhunters isn't afraid to lead the unwitting watcher on a merry dance. Naturally the whole enterprise rests on the small but perfectly formed cast, particularly Hennie, with whom we slowly come to empathise, and the more typically suave Nikolaj Coaster-Waldau as the former exec with a murky past.
If Headhunters has a particular weakness, it's that it spends most of its time descending into increasingly dark (and occasionally graphically violent) territory, while occasionally veering into light hearted caper. This does feel slightly bewildering, but to be honest, it's a relative minor criticism. Headhunters is definitely worth catching (particularly given the woefully slim pickings over the past few months), if not now, then 6 months from now when it premieres on Film Four in the middle of the night. Scandinavians (and cinéastes with a penchant for Northern European film) may be used to this kind of thing, but for the rest of us it's a wonderfully welcome arctic blast through the land's tat filled cinema screens.
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