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Title: Open Hearts (2002)
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| Cast overview, first billed only: | |||
| Mads Mikkelsen | ... | Niels / Marie's husband | |
| Sonja Richter | ... | Cæcilie / Joachim' fiancee | |
| Nikolaj Lie Kaas | ... | Joachim / Cæcilie' fiance | |
| Paprika Steen | ... | Marie / Niels' wife | |
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Stine Bjerregaard | ... | Stine / Marie and Niels' daughter |
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Birthe Neumann | ... | Hanne |
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Niels Olsen | ... | Finn / Niels' colleague |
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Ulf Pilgaard | ... | Thomsen |
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Ronnie Lorenzen | ... | Gustav / Marie and Niels' son (as Ronnie Hiort Lorenzen) |
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Pelle Bang Sørensen | ... | Emil / Marie and Niels' son |
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Anders Nyborg | ... | Robert / Niels' brother in-law |
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Ida Dwinger | ... | Sanne / Niels' friend |
| Philip Zandén | ... | Tommy | |
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Michel Castenholt | ... | Furniture Store Assistant |
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Birgitte Prins | ... | A&E Doctor |
Cecilie is devastated when her fiancé Joachim is seriously injured in a car accident and is paralyzed from the neck down. Marie was the driver that caused the accident and she ask her husband Niels, a doctor at the hospital where Joachim is being treated, to help out Cecilie. However their relationship evolves in an affair which threatens Niels family. Written by Phythian
Halfway through Open Hearts, it becomes more obvious that you're watching a fictional account. The plot becomes slightly predictable, which is a good thing. For the most part, this new Danish film feels like a reality documentary and pulls you in like reality itself. Director Susanne Bier follows the technical requirements to earn a Dogme 95 certification, which means the film has to be devoid of any unnatural camera movement, lighting and sound among other rules. As a result, Open Hearts is also devoid of superficial movie cliches and full of heartfelt human situations.
The film follows a young, newly?engaged couple and a married couple with kids, whose lives are interrupted and complicated by a road accident. Bier stays clear of the external effects of the drama and instead focuses on the characters' inner effects. Her protagonists lose emotional control and appear ill?equipped to handle the consequences of an unexpected tragedy. The film's appeal is not only universal, but timely as well, shattering the modern belief that everything is controllable. Once tragedy strikes, our lives seem far more fragile than we thought.
Stephan Paschalides