In a post-apocalyptic world in human decay, a protective father and his teenage daughter are forced to bring a mute teenage boy to their hide-out, which puts their relationship under decisive pressure and expose them to outer dangers.
Alex Høgh Andersen,
Company commander Claus M. Pedersen (Pilou Asbæk) and his men are stationed in an Afghan province. Meanwhile back in Denmark Claus' wife Maria (Tuva Novotny) is trying to hold everyday life together with a husband at war and three children missing their father. During a routine mission, the soldiers are caught in heavy crossfire and in order to save his men, Claus makes a decision that has grave consequences for him - and his family back home. Written by
Nordisk Film Production A/S
This is the fourth time that actor Pilou Asbæk portrays a Danish soldier. First in a minor role in Forbrydelsen (The Killing) season two. Secondly in the TV-show 1864. Thirdly in 9. April and finally in Krigen (A War). See more »
Komponeret Og Fremført AF/ Composed and Performed by Drew Holcomb
(p) 2010 Riptide Music
Forlaght AF Apollo Live See more »
Modern local conflicts and crisis areas have brought along a different approach in depicting military activities - confrontations without clear battle fronts, with a foreign military mission in assisting role. But as, in essence, there is a war going on, one is unable to predict every next move and incorporate all situations/events into specific legal framework; in the event of military events, there are always casualties.
Such is the background and essential point in Krigen, where the Danish Company commander Claus M. Pedersen (solidly performed by Pilou Asbæk) has to equally deal with both a severe accusation against him and his family (the characters of his spouse and three children seem to be more dynamic and interesting than those of officers and soldiers). I know that legal proceedings are not snappy, particularly among the Danes who are curbed and reticent, but still - the plot is a bit slow and arid, often uncovering the documentary aspect rather than that of a feature film, and the solution and the final scene are too plain. All this is just a narration running its course, and most of otherwise good and distinct actors have nothing profound to perform.
Krigen is not a bad film, but not at the level of e.g. Tobias Lindholm's Jagten or Submarino. For me, Krigen is a less intensive and less diverse than some related films, e.g. Stop-Loss or Brothers. Despite having an Oscar nomination, I would be surprised if it gets this award.
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