Lad de små børn...

Claes and Britt have lost their 12-year old daughter, run over by a car. Each fights their demons in their own way, and their marital relationship is shaken. Britt returns to work but her judgment and conduct are not as they should be; Claes works through but his anger leads to his suspension.

Claes boss Nisse, and boss's wife Vivi, are sympathetic but they are at a crossroads in their own relationship. All four are walking on eggshells.

The story is told without exposition. We are drip-fed just enough information to keep us engaged, and gave to work out some background for ourselves, being soared none of the anguish.

We English are stereotyped as having a stiff upper lip, but Claes and Britt take this to another level. Where Britt buries her grief, Claes bristles with suppressed rage to the point where we question his ability to function.

The story pulls no punches. There is no pretence of 'good' and 'bad', only 'hurt'. All major characters suffer crises of one form or another, but we empathise and want resolution for them.

Two minor characters, Malene and Ulrik, deserve particular credit. I didn't know the actors but they perform beyond the scope of their roles.

A powerful story of people on the edge.

A well acted, thoughtful piece of story telling. This is a restrained film about a difficult subject; a film which in the European tradition never patronizes its audience. The joy of the experience is that as a viewer you feel as though you're being treated intelligently - as an adult. Watching Hollywood movies often creates the opposite feeling - that the makers think you're a child who has to be spoon-fed. Watching this film was both rewarding and fulfilling.

I must confess I bought it only because I was intrigued to see Sophie Grabol in something other than the Danish TV series The Killing. (which I love). She stars here opposite Mikael Birkkjaer her co-star in The Killing II and they are both terrific.

There are so many ways to fail when you tell a story about people who are in a state, people who mourn, people who can't communicate. But writer Kim Fupz Aakeson and first time director Paprika Steen pulls this off like there's nothing to it at all. "Lad de sma born" is a masterpiece, shining with profound psychological insights and exquisite performances. Grabol, Birkkjaer, Pilmark, Endre, Mynster, Brygmann, Christensen are all superb. This is a movie much similar to the great "Elsker dig for evigt"; it stands out with the same sharpness, same credibility, same maturity. I love von Trier, but Denmark has more to offer. Much more. We are grateful.

I'm a fan of Paprika Steen since the very first time that I saw her play a role in a movie. Since then I've seen several others of 'her' movies and I must say that she's always unbelievably good. Her performances often mean the difference between a good movie and an excellent one and that is something that made me look forward to her debut as a director. I hoped that she would be at least as good as a director, that she would be able to do her magic trick once again, but this time from behind the camera...

In this movie we see how a couple is trying to deal with the loss of their teenage daughter who died in a tragic car accident. Their whole life seems to have stopped and everything they do or everything that is said to them reminds them of her, leading to an emotional outburst. And both parents have their own way of dealing with the pain. While the mother tries to pick up her old life again by returning to her job as a social worker who has to take care of abused children, her husband seems to lose all grip on reality. He's only focused on one thing and that is to find the person who killed his daughter. It doesn't matter to him that he loses his job as an architect or that his relationship with his wife deteriorates fast. All he wants is revenge...

As I already said earlier in this review, I was really looking forward to this movie and I sure had some very high expectations about it. And almost all have been fulfilled. Once again this is a very interesting Scandinavian drama and Steen proves that not every good movie that comes from the North needs to be a Dogme film. She has managed to make a good drama with apparently different, smaller story lines that all connect to each other in one way or another. If the director isn't careful, this means that the entire movie will feel quite messy, but Steen sure knows how to avoid that trap. This is a solid movie and by far one of the best debuts that I've ever seen from a director.

Once again the acting is very good. Not that I expected otherwise. I'm used to watch Scandinavian movies and I'm always a bit surprised to see how many good actors they actually have over there. Sofie Gråbøl I had seen before in "Mifune's Last Song" and Lena Endre I still remember from "Trolösa". The others were more or less a surprise, but I liked them just as much.

In the end I'm convinced that this is the type of movie that might appeal to a larger audience, but even those who are already quite familiar with the Scandinavian movies and more in particular the Dogme-films, may well enjoy it. I know I certainly did and that's why I give it a rating in between 7.5/10 and 8/10.

A harrowing tragedy ,with avoids all the traps of melodrama: what can be worst than the loss of a child? The subject was often broached ,but never that way.

The story takes place six months after the death, and as the couple resumes their life , what is left for them is only photographs ;there won't be any flashbacks, or video films ,the usual paraphernalia .Not the easy way out. And no religion either ;only the void. The director wanted us to step into their shoes ,in a harsh way .

The neighbors try their best to help them get over the loss ,but they are as helpless as the social workers (the scene between Britt and the young student is revealing: "we 'll never give them a better life ;all they need is loving parents ")

Sofia Grabol is the most convincing as the social worker who tries to find a reason to believe in her work ,but who soon is suspected to "steal the baby from the mother"; she becomes an enemy for the mother ,abetted by her partner , even though she gets out of her way to help them. Britt's scenes with the baby are admirable.

Mikael Birkjaer matches her every step of the way (of the Cross) .He's terrific in the scene with the japanese ; on the other hand ,his brief affair with the real estate agent is conventional and predictable and is the only flaw of an excellent psychological drama.