User reviews

If you are looking for a movie that confirms preconceived notions, don't go to this one. Rather than trotting out a character as a rooting interest in the second or third scene, the film presents four individuals who are definitely worthy of your interest and compassion.

The two men in this drama, Jacob and Jorgen, are each powerful in their own ways. Jacob in the power of his convictions, Jorgen in the power of money and commerce. The two women, Helene and Anne, and the decisions they make, are the characters that move the story and set up the very real personal tragedies that ultimately unfold. Rather than a recanting of the general plot, my recommendation is to go into this movie as cold as you can. There are twists to be resolved and lives to learn about -- they are not aided by hearing about them beforehand.

There are no special effects, no flashbacks, no grainy images, and resolution is provided without the use of gun-play. (When was the last time you saw a movie that didn't have a gun figuring in the outcome.) Like real life, it takes a while to learn who the characters are and confirm that first impressions may (or may not) be correct. The pacing of the movie seems to be a primary criticism on the message boards but it seemed to move at a breakneck pace to me. I was very sorry to see it end.

This is a human drama that the "old" Hollywood once made by the boatload. Highly recommended.

As may be expected of Susanne Bier, and as may be expected of Scandinavian films in general if you ask me, this film is really great. The acting is so good it's hard to call it acting. Mads Mikkelsen (Jacob) puts up a terrific performance with acting that is as credible as it is subtle. Not the over-the-top stuff that we are familiar with from Hollywood, but acting that actually makes you think "yes, this is how real flesh and blood people would react". I was also pleasantly surprised by Sidse Babett Knudsen (Helene). She has a lot of scenes with little or no dialog, but the way she tells everything with subtle face expression is simply mind blowing. And let's not forget Rolf Lassgård (Jörgen) and Stine Fisher Christensen (Anne), who both remind us what real flesh and blood emotions look like in a way that really hits you in the face.

Anyway, I'm a fan of Scandinavian films for reasons mentioned above, and I'm almost ashamed to say that in that light this film was really nothing new, and luckily so: just more of the same wonderful stuff! What really stuck with me about this film however is the story. It is so ...human in all aspects. I won't reveal any spoilers, but as the story unfolds, it just gets so much more complex than you expect at first. In the first 15 minutes, I expected the movie was mainly going to be about the struggle between Jörgen and Jacob. The struggle between these two "stereotypes" really... one being the cool business man who solves everything with money, and the other being the idealistic but clumsy social worker. I was pleasantly surprised however that it got even better after that. What I mainly like about the movie, is that it doesn't offer any simple solutions. In the end, there are no perfect happy endings that solve every puzzle; the main characters have to make decisions, but it's not all black and white like we see in a lot of other movies. People have to do things they might not have done initially, but in the end, there may be upsides as well. You know... that sounds an awful lot like real life, and that's a good thing for a film if you ask me.

I greatly admired the previous films by Susanne Bier (" Open Hearts" and "Brothers"), so my expectations were very high.Luckily they have been fulfilled.Like the other two the film is a sociological and emotional experiment.It's about one's place in the world (the crucial phrase in the film is Jorgen's "Can one expect from you help only on the other side of the globe" ), about responsibility and the making of painful decisions.The film starts quite slow,but after half an hour it's getting more intensive,mostly supported by 4 extraordinary actors and actresses.While I already knew the qualities of Mikkelsen,Knudsen and Lassgard,I was really blown away by Fischer Christensen as the daughter.There were 4 real-life characters and I could follow their psychological turmoil.Some may find the script too constructed,but life turns out to be full of unexpected twists.The film is no popcorn-entertainment,but for anyone,who appreciates a human,deeply moving drama with the concentration on the characters instead of superficial action,I can only say: Go and watch this movie!

Efter brylluppet (2006), written and directed by Susanne Bier, is a Danish film shown in the U.S. with the title "After the Wedding."

The film is like a jigsaw puzzle that has been started but not completed. As the story progresses, pieces are added to the puzzle one at a time. There are secrets upon secrets, and memories upon memories. Only one character knows the entire story, and he is hiding a secret of his own.

The film begins in India, and the footage shot there has the ring of truth about it. Most of the film concerns wealthy people living in Denmark. The contrast between the poor in India and the wealthy in Scandinavia is immense. (Actually, it's more than that--it defies description.)

The person who travels between India and Denmark--Jacob--is the link between these two worlds. He works in an orphanage in India, and he is sent to Denmark to convince a billionaire businessman to fund the project. The plot unfolds slowly, in a subtle and unpredictable manner. There are many ambiguities, and not all of these are sorted out by the end of the film.

The acting is extremely good, with outstanding lead actors and an excellent supporting cast. If I had to single out one actor for praise, it would be the extraordinarily talented Sidse Babett Knudsen, who plays Helene, the wife of the wealthy business man. Ms. Knudsen turns in a nuanced and satisfying performance that is a pleasure to watch.

This exceptional film was appropriately nominated for an Oscar. It's certainly one of the best movies of 2006, and deserves wider distribution so that more people can see it.

"After the Wedding" (2006) begins on the streets of Mumbai, India, where several orphaned, homeless children are queuing up for food, courtesy 'Anand Orphanage and School', assisted by Jacob (Mads Mikkelsen) who has taken up the cause. He teaches in the school attached to the orphanage, and is a favorite with the children there. The initial scenes make one wonder if this is yet another 'poverty porn' focusing only on the dirty underbelly of India and projecting it to be a country worse than it actually is (Think "Slumdog Millionaire"). But any negativity formed in the beginning is quickly quashed with what follows.

The orphanage is clearly falling short of funds. A silver lining is seen, as some tycoon in Denmark, by the name of Jorgen Hansson (Rolf Lassgård), has agreed to offer a huge sum of money as donation to the orphanage, but only on the condition that Jacob travel to Denmark personally, meet with Jorgen and then return with the necessary funds and paperwork. This tiny detail offered in the beginning, highlights the whimsical nature of the wealthy businessman's offer, and immediately hints at a catch, so we begin to brace ourselves for an early twist. Any surprise quotient, then, is automatically reduced to half.

Jacob travels to Denmark, leaving behind his shanty life, albeit promising one of the orphan boys, Pramod (Neeral Mulchandani), who he has brought up and loves like his son, that he would be back in a week. Once in Denmark, Jacob is given red carpet treatment; a personal airport pickup, a luxury suite in a posh hotel, and later a meeting with the man himself; who takes a look at the project put together by Jacob (a videotape detailing the activities of the orphanage), but seems to be more interested in having a drink with him. Jorgen turns off the tape halfway, leaving Jacob stumped and disappointed, but proceeds to invite Jacob to the upcoming wedding of his daughter Anna (Stine Fischer Christensen). The unsuspecting Jacob accepts the invitation and shows up at Jorgen's plush mansion, the venue of the wedding.

But a series of startling discoveries at the wedding and after it, make this visit to Denmark, a life-changing experience for Jacob…..

Writer-Director Susanne Bier's screenplay shows great promise, at least in the first half, thanks to the periodic revelations. Some dark secrets are revealed at regular intervals, and thus the pace is well maintained 'til then, although the film revolves only around four major characters. There are great moments of power-packed drama, sometimes intense, sometimes warm, sometimes awkward; mostly the uncomfortable encounters between characters are very naturally captured; it couldn't get more real than that. The director knows exactly how the characters would emote under the circumstances, and thanks to the terrific actors, it's all well done and earnestly acted. The cinematography is somewhat grainy, mostly devoid of the usage of special lighting, and is shot on a hand-held camera, reminiscent of the style of the Dogme 95 movement first initiated by Lars Von Trier. It is no surprise that the filming of the entire wedding sequence very much reminds of that in Von Trier's "Breaking the Waves".

It is the extreme close-ups of eyes, lips, hands, and even some facial hair that come across as an eyesore. There are way too many close-ups that just weren't required and suit neither the genre, nor the subject matter. In fact they take away from the scenes somewhat, by not showing us the visage of the actor during a scene, when his/her reaction or emotion is vital to the scene. It is in the latter half, that the drama begins to shed the subtlety, when the most important twist of the story is revealed, and the film dips into mawkish melodrama giving rise to histrionics and gawky over-sentimentality! The major twist is itself a cliché and a bankable ingredient for a weepy soap opera. But there are other events that follow, and at such timings, that you can't help but think that the screenplay is taking an emotionally manipulative direction, by forcing some events that just weren't necessary, but used merely because they, somehow, serve as good excuses to make the proceedings sappier!

That said, it is indeed noteworthy, how almost all the characters are very well written; they have a lot of depth and more importantly, the initial impression that is created about them, takes a drastic turn in some key events, and we are forced to see them in a different light. Of course, the convincing dynamics of the characters, are owing to the choice of actors that are immensely talented. Mads Mikkelsen brings a range of emotions to the otherwise stoic Jacob who is taken aback when he first learns of the shattering truth that hits like a bolt of lightning. Ditto for the mixed emotions and the inevitable awkwardness he displays, later, in one of the best directed scenes of the film. Rolf Lassgård is brilliant as the drunk, but loving father and business tycoon, whose real intentions, and hence the kind of person he is, becomes clear only later. Stine Fischer Christensen is cute and does a commendable job as the daughter Anna who gets a double whammy of deceit. And then we have Sidse Babett Knudsen as Helene, who finds herself in an extraordinary situation, by a twist of fate, following a seemingly strange coincidence, and a past that refuses to let go. It is a classy performance indeed.

What "After the Wedding" needed was a steady grip and restrained tone, that it maintains in the first half of the film, despite the plot contrivances, after which it nosedives into unnecessary melodrama and starts to come undone. Too bad, really!

Score: 7/10

You've probably read the glowing remarks about this film, so I won't be too repetitious. The film moves slowly along and where the story is going to take us isn't revealed for a while. It's like peeling the onion but with rewards in each layer. I was thinking about differentiating here but, as does the onion, this film also brings tears.

I liked the way we find out that our protagonist is from Denmark and has a past that drove him away and into a new life. He is certainly more of a giving human being that when he left the country. The story then follows a course that to a large degree his former life created.

One of the aspects I especially enjoyed in the film is the use of some Dogme 95 rules. It's not a Dogme film but the director makes good use of many parts of that approach. The camera is hand held and it's use here made me feel more involved with the characters. The use of available light made the film much more beautiful and warm. One of the good results of the Dogme use here is that the director has made a film that, even for its' slow pace, dispenses with non-important fluff that would most certainly have been added if it had been made in the USA. There was a reason for every scene.

So be prepared for a slow paced film loaded with beauty and revelation. You'll be rewarded with a wonderful film experience. Prior to seeing it I had thought Pan's Labyrinth would win an Oscar, but not anymore. Then I saw The Lives of Others and moved both of the films down a notch. They were my top three films of 2006, in fact none of my top three were American made. What a year for imports!

a honest story. about love, past as axis, search and answers. a slice of India as key of realities from Denmark. two men, two women and a death. a wedding. and change of lives. in fact, a beautiful and profound meditation about sense, gestures, power of words. a special definition of power. and gray nuances of love.a good performance, an admirable script. but virtue of movie is honesty. far from impressive ways , it is a chronicle. a labyrinth-room in which not monsters are subjects but the forms of things. many scenarios can be fabricated by viewer. the answer of director is far from that. like a river, it is clear and fresh. a lesson about values, fear and hope of a rich man. a new face of past events for a man in search of his existence sense. end of circle for a mother. real beginning for her daughter. nothing else. only a beautiful honest film.

I knew nothing about this film before going to see it except that it was Oscar nominated and starred Bond's 'Casino Royale' foe Mads Mikkelsen. But I'd heard good things and despite it being a day so sunny in April that you should really spend it in the park I ventured into the dark cinema. All I can say is that I am so, so glad I did as this has to be one of the best films I have seen this year. Jacob (Mikkelsen) runs an orphanage/school in India that due to funding will have to close if they don't do something quickly, cue a phone call from Denmark where a millionaire is looking to invest some money in a good cause and Jacob has no choice but to go home and try to win over the mystery funder. Cut to Copenhagen and the very rich living of Jorgen and his family, a self-made millionaire Jorgen is preparing for the Wedding of his daughter and as his family gather round the mansion we see that he has a pretty good life. Cut back to Jacob who after living in squalid conditions in India for so long is struggling to understand the swish hotel he's been booked in for his visit. When the two meet to discuss the investment Jacob is over enthusiastic but Jorgen is nonchalant and pre-occupied with the weekends approaching festivities, so much so he decides to conclude the deal on Monday and seeing as Jacob is here on his invitation with nothing to do all weekend he decides to ask him to attend the wedding. So far so seemingly normal. It is at this point that the film takes some dramatic turns and through a series of unexpected events, a few skeletons in closets, the past and emotive performances, becomes a really deep and moving piece of cinema. I don't want to spoil it by saying anymore about it except it's nothing short of brilliant. I haven't seen a film for ages that deals with such negative and positive issues with such compassion and integrity without being hammy or over the top. The direction is flawless, the music is fitting and the cinematography is almost dogma in style but with a certain crispness to it. The performances are outstanding and it's not hard to see why it was Oscar nominated and won countless awards. The way the script is superbly written it reminded of 'Secrets and Lies' by Mike Leigh in the way it captures humans acting realistically in real situations. By the time the film starts to conclude the tissues were coming out to wipe away the tears of sadness and joy, which is a very powerful position to be in for any film, and the audience left the auditorium into bright sunshine glad like me that they'd had chance to see this amazing piece of cinema.

Wealthy people in most movies are jerks. That's no doubt a sop to the mostly poorer moviegoers who get to feel superior to the rich in this one way. It also no doubt reflects the film's industry trouble reconciling the enormous wealth of some in the business with its sense that it's on some some great progressive crusade.

As a group, the rich are no more likely to be jerks than anyone else. This is a rare movie with sympathetic wealhty characters, which makes it a bit more interesting.

The movie itself is good, not great. Some of the plot is improbable and hard to digest, and there's a soap opera character to some of the proceedings.

Still, the movie kept my interest for two hours, which is unusual for me.

This is one of the best movies I've seen in a long while. I am lucky that I was able to see it at a screening, and I will certainly look out for other movies from the director and writer.

It starts off low key and you're not sure where it is going to go. Then things get very intense dramatically. In a lesser movie this would be near the end, but in this movie it is just the beginning. At times it gets emotional with very excellent acting. The plot keeps changing in unpredictable ways, and who the plot is revolving around keeps changing also. Really well designed story and well directed production.

Apparently it is on the verge of release in the US. The version I saw in a US screening was subtitled (one of the forum posters asked if it would be dubbed).

Who said secrets aren't fun? Susanne Bier's After The Wedding reveals a deliciously profound and emotionally-impacting conundrum that draws the audience into the story early on. As a film technique, Bier's method of storytelling is effectively engaging. In fact, it's the director's ability to manipulate our emotions as viewers that makes this film so wonderfully unique. With the inclusion of a cross-cultural perspective not typically seen in Nordic film, After the Wedding is one of the more important films to emerge from Denmark in recent years.

One distinct aspect of the film is its use of raw emotion, a factor rarely seen to this extent in traditional Hollywood films. Much of this quality can be attributed to the film's actors and actresses. Mads Mikkelsen does a superb job playing Jacob, a man who's past roots entwine with the other characters in the film more heavily than he previously assumed. Situated in India, Jacob leaves for Copenhagen to meet with a wealthy man named Jorgen, played by Rolf Lassgård, to receive financial aid. To help get accustomed to Jacob and facilitate his trust, Jorgen invites Jacob to his daughter's wedding that evening. While there, the audience learns of a particular secret that turns out to be an emotional bombshell for both Jacob other members of the wedding.

The film really shines in its use of emotion to drive the story. Indeed, the most powerful moments of the film do take place after the titular wedding. Jacob, who was previously committed to returning to India to partake in his surrogate son's 8th birthday, must make difficult choices in lieu of the truths revealed at the wedding. Jorgen's wife Helene, played by Sidse Babett Knudsen, must conflict with her husband's consistent nondisclosure of the truth. Jorgen's daughter Anna, Stine Fischer Christensen, learns many of the hardships of marriage and commitment. Each of these instances are linked with a particularly poignant and powerful scene that draws the audience into the situation. One scene in particular pulls at our heartstrings, as we uncomfortably watch the previously indomitable Jorgen collapse in a fit of weeping and screaming. Bier manages to successfully make the audience empathize with the characters in the story, a difficult task and something not common in Hollywood convention.

Another element where After The Wedding succeeds is in the portrayal of cross-cultural experiences. Jacob's character is defined by his commitment to social justice. His motivations are clear from the beginning - he desires additional funding for his orphanage. After the wedding, when facts change, Jacob's moral obligations keep him in Denmark to continue doing the morally right thing. Without revealing too much of the film's plot, Jacob evolves into a morally capable character who satisfies the role he was presented. As it turns out, there is a strong Scandinavian presence in many social projects across the globe. It was refreshing to see this illustrated in Jacob's character.

The film also utilized unique techniques to achieve its desired emotional response. Many of the tense moments employ a cinematographic technique where the camera zooms in on a character's eyes with a shallow focus. While not practical from a storytelling standpoint, the viewer is immediately linked to the deeper thoughts and emotions of the character by focusing on the eye. Some say the eye is the gateway into the soul, and Bier clearly understood this concept. Another technique that impacts our emotions is the use of unusual jump cuts within the same shot. Often, Bier will reveal emotion by showing instead of telling. These jarring cuts indicate that something is wrong without explicitly stating it though dialogue. One could make the argument that this style of film-making is unique to Beir as a female director. It's interesting to witness character development through a female lens as opposed to the traditional masculine one. More time is spent on character relationships and action implications than a Hollywood film, which would either spend the time attempting to add humor or driving the plot forward with melodramatic instances.

After The Wedding is unlike other films in that it manages to hook the viewer in an emotionally engaging way. Through its unusual but effective camera and editing tricks, refreshingly realistic perspectives of Scandinavian archetypes and a compelling storyline, Susanne Bier has produced a wonderful piece. Don't let this film be a secret.

It's a good movie. The Danes are very good at beautiful, but melancholic pictures, and this is no exception. The film never reaches the heights of Druk or The Hunt, but it's still a solid film.

To fully appreciate this film, it's best to go in blind without any prior knowledge of the plot. The film boasts some well-executed plot twists that catch the viewer off guard. Although the film can be a bit heavy, it also portrays the beauty of life in unexpected ways. The strong drama realistically depicts the struggles of its characters and the emotional twists and turns that accompany them

This movie portrays the unexpected blows life can deal us. It depicts the characters being hit by life at full force, often when they least expect it or when their guard is down. Despite the constant struggles, the characters persevere and support each other. The film tells a beautiful story of resilience and the power of human connection.

The acting in the film is superb, with Mads Mikkelsen leading the pact with a nuanced and realistic performance. Has he ever delivered a bad performance? The other actors are also very authentic.

In a very poor area of India, the altruist Danish Jacob Pederson (Mads Mikkelsen) teaches and nurses children in an orphanage and has raised the eight year old Pramod since he was a foster baby. When Jacob is invited to travel to Copenhagen to meet the wealthy businessman Jørgen Lennart Hannson (Rolf Lassgård) that intends to donate a large amount to the orphanage, the reluctant Jacob is convinced by the director Mrs. Shaw (Meenal Patel) that he must travel for the good of the children, and he promises to Pramod to be back on his birthday on the next week. Jacob has a meeting with the self-made tycoon that promises a donation of one million-dollar and is invited to go to the wedding of his daughter Anna Hannson (Stine Fischer Christensen) on the next day. In the wedding, Jacob sees Jørgen's wife Helene Hannson (Sidse Babett Knudsen), who had a past with him, and discovers a family secret that will affect his and the Hannson's lives.

"Efter Brylluppet" is an intense and engaging family drama. The beginning (and the end) of this movie discloses the poor conditions of people in India and gives the false idea that the plot would be about the social differences between India and Denmark. Then there is a twist in the unpredictable story focusing serendipity and the personal dramas with many other discoveries of the lead characters and the masterminded plan of the clever Jørgen. All the characters are believable and human supported by magnificent direction of Susanne Blier that plays the emotions and feelings of the viewers; an awesome screenplay and top-notch performances. Sidse Babett Knudsen and Stine Fischer Christensen are very beautiful women and I really loved this feature. My vote is nine.

Title (Brazil): "Depois do Casamento" ("After the Wedding")

After the wedding is a solid film, driven by a sharp script and brilliant performances. The acting is, in fact, so good you can be forgiven for thinking you're watching a documentary. Its intensity never relents, with Susanne Bier's intelligent direction enhancing every emotion, every feeling. For a melodramatic film as this is, it must be driven by its characters, and most importantly by the viewer's compassion and empathy towards them. There are too many in this film to truly develop and some events feel a little rushed. Nonetheless a good film and worth watching, it defines life and social interaction in all its fragility and surprise well.

VERY disappointing after all the great reviews.

The story is maudlin, predictable, and completely unbelievable; and it takes itself so seriously that it practically begs to be laughed at. The direction is sloppy and plodding, leaving out what matters and leaving in what doesn't. The cinematographer used a hand-held camera for tight closeups far too often, for no reason, so that often the screen is filled with one huge head (sometimes one huge eye) bobbling around.

All the actors are mediocre at best; none of the relationships are believable; and all the characters were either so badly written or so badly acted that I never believed or cared about any of them - except the tough, smart, adorable little boy in India, who was on screen for no more than ten minutes.

I don't understand why Mads Mikkelsen is so popular; he acts and looks like an unwrapped Egyptian mummy. David Dencik, another Scandinavian actor, is infinitely more interesting and attractive; unfortunately he's not on hand to save this leaden turkey. This was my first and (I hope) my last Susanne Bier movie.

It seems incredible, but 'Susanne Bier' (qv) can apparently overdo herself every time! Just when I thought that 'Brødre (2004)' (qv) would simply be the peak of her career, she comes out with this masterpiece! Brilliant actors! Every role in this film is played out so well! Particularly 'Rolf Lassgård' (qv) does a fabulous job. The film has brilliant music, brilliant cinematography and a brilliant plot! Oh yeah, and ask me if it's touching! Please! I haven't been this moved since I saw 'I Am Sam (2001)' (qv), and that's saying something! 10/10 without hesitation. I simply can't put my finger on anything bad about this film. Just go see it, or you'll miss out on one of the finest moments in film history! Well done, Susanne! Bravo!

Danish director Susanne Bier has signed the Dogme pledge of purity in film-making and here she sticks to the rules, intermittently anyway. The camera-work is just about all hand-held and the lighting "natural" which means most of the interior shots are suffuced in a yellow glow. She also has a liking for very close-up shots of people's faces at random moments which can be disorientating, but overall this is not an excessively dogmatic Dogme film.

The story is really a bit of mainstream soap, with an improbable plot, characters who are more caricatures, reliance on co-incidence and plenty of sentimentality. However the understated and powerful acting by all the principals makes what is rather a silly story work. The story might be silly but there is not a wasted moment in the film. The scenes in the Mumbai orphanage are meant to contrast with the high life in Copenhagen, and they do – Bier is anxious we get the point. The co-incidences seem over the top at first but then we suspect their may be more to it. Jacob the protagonist seems heroic and selfless to begin with, but later it seems he is somewhat of an under-achiever as a hero. The caricatures become more characters than we thought.

Mads Mikkelsen is a superb actor who would be my choice to play a Danish Christ and as Jacob, the orphanage manager and supplicant for funds, he does everything right here, transcending the material. He gets good support from Rolf Lassgard as Jørgen the putative philanthropist – a full-throated performance, and from Sidse Babette Knudsen as Helene, Jorgen's wife and old flame of Jacob. This isn't "Hamlet" but you feel this troupe could make a fair fist of it. (Come to think of it a Danish "Hamlet" would be quite a cultural experience). There's still something soapy about the whole thing, though, and I think Bier was lucky to get a nomination for the 2007 best foreign film Oscar right up there with "Water" and "Laberinto del Fauno". But it's quite watchable and the acting justifies the price of admission.