Quislings siste dager

Excellent acting but the film moved along too slow. Dialogue snooze fest! Felt like a small stage event. Storyline was good but could have included a bit more of Quisling and the Nazi parties brutality toward the Norwegian people.

An interesting look at Quisling and his wife as well as Peder the priest. Cgi was good and again great acting.

The film leaves you wondering other than the murders at Trandumskogen pow camp what else horrible did he do to deserve the death penalty.

As typical with Norwegian films the storyline is dark, and there are only a handful of actors. Maybe spoiled by Spielberg but here there could have more depth and more actors.

It probably was about time that Norwegian cinema tackled this elephant in the room and made a biopic on Vidkun Quisling, the man who appointed himself Minister President and collaborated with the Nazis during the German occupation of Norway between 1940 and 1945, and paid the ultimate price for his actions when in October 1945 he became the last person to be executed in Norway. The director is Erik Poppe, who has handled Norwegian national traumas skilfully before, notably with Utøya 22. Juli in 2018, and he manages to portray Quisling with a fairly dignified level of balance, even if his dissection becomes lingering at times. The running time most certainly could have been trimmed a little; there are a few too many meetings behind closed doors. And although there is a disruptive dissonance between Eidsvold's imitative rendition of Quisling's intonation and demeanour on the one side, and Danielsen Lie's overly modern approach and delivery, their final scene together ultimately does evoke some of the intended emotion and bond between their two characters. With beautiful CGI recreations of 1940s Oslo which elevate the overall impression.

An absolute masterpiece from start to finish! The acting was nothing short of brilliant, with each performance delivering a depth and authenticity that truly brought the characters to life. The slower pacing worked beautifully, giving the audience time to fully immerse themselves in the story and appreciate every subtle nuance.

The film provided an insightful and thought-provoking portrayal of Quisling, his wife, and Peder the priest. It struck the perfect balance between personal drama and historical context, offering a unique perspective on this dark chapter of history. The restrained use of CGI was impeccable, enhancing the scenes without ever detracting from the emotional weight of the performances.

The storyline was gripping, full of tension and reflection, leaving you to ponder the moral complexities long after the credits rolled. It didn't rely on heavy-handed depictions of brutality, but rather focused on the psychological and emotional layers, making it all the more impactful.

As with many great Norwegian films, the atmosphere was dark and intimate, and the smaller cast only added to its charm. Each character felt fully realized, contributing to a rich and immersive viewing experience. A truly exceptional film that showcases the best of what Norwegian cinema has to offer.

Larrain has now made two historical films about Norway and arguably this film is even better than his earlier film about World War Two, The King's Choice. With this film the director was wise to limit the back story of Quisling's political career to a few brief scenes and to focus his film directly on Quisling's time in prison. The story centres on two characters, Quisling and a young prison chaplain who has been designated to have weekly sessions with Quisling intended to provide him with some comfort before his trial. There are two additional characters, Quisling's wife who has been his ardent supporter throughout their marriage and the young prison chaplain's wife, who in private argues forcefully with her husband. The script is based on the book the prison chaplain and his wife later wrote about Quisling. Quisling is a strange person, dogmatic and unemotional, entirely focussed on justifying his support for the Nazi war machine. An interesting film. It is essentially a two hander, augmented with the occasional addition of the two wives.

Perfectly realized film probing the mind of one of the most famous collaborators in WWII. His name is still heard today, as a symbol of unforgiveable treasonous acts. The film shows how the man deceived himself, believing he had done a service for Norway and its people. The younger hospital chaplain, who is charged with eliciting a confession from Quisling goes through self-examination in the process. We also see the wives of these men and the differing reactions they have. Courtroom scenes of the trial are brief, but revealing, even shocking when an Auschwitz survivor testifies. Brilliant performances by Danielsen and Eidsvold who plays Quisling with fervor and ferocity. A great addition to the enormous list of films portraying important figures and events of the war.