Open Hearts [2003]

Susanne Bier's direction here is dream-like and hypnotic, with every character bearing their cross with equal conviction. Joachim is obviously the most outwardly frail charatcer here, but Marie shows signs of not being able to carry on without him right from the start. Her desperation to think of what to do makes her vulnerable, rash and drives her slowly mad. Niels has doubts and unsatisfaction with his homelife, which is brought to the foreground by his somewhat spontaneous and intrusive befriending of Marie. Niel's wife and children spot the inconsistencies straight away, and a battle erupts between Niels and his desires for family and those outside of it.

There are some inticing and also horrifying dream sequences here, especially with regards to Marie's fantasies about Joachim recovering from the paralysis, that add a strange black comedy to a somewhat downbeat and very realistic film. I can't really recommend this film to anyone who dislikes films just because they're supposedly depressing, because that is exactly how you would see this - but I can recommend it to people who enjoy films about exposing the fragility and beauty of human interaction and the human heart.


A masterpiece of cinema   February 26, 2004
Stephen Newton (Manchester, England)
10 out of 10 found this review helpful

A film driven by human experience rather than character or story, which nevertheless stands out by creating characters that invite near universal empathy. We feel and care for all of them as they come to terms with the kind of tragedy that everyone knows could be just around the corner.


Danish gem   December 26, 2003
www.laurahird.com (Edinburgh, United Kingdom United Kingdom)
11 out of 14 found this review helpful

Cecilie has just agreed to marry her doting boyfriend, Joachim, when he is knocked down by a car. The car is driven by Marie (Paprika Steen) in the midst of an argument with her daughter, Stine. The prognosis is bad – Joachim’s neck and back have been broken, his spine crushed and it is certain that for the rest of his life he will be paralysed from the neck down. Marie is inconsolable, feeling responsible for ruining the young man’s life, and asks husband, Niels (who works at the hospital Joachim is in) to look after Cecilie. Cecilie is very vulnerable and needy. Not only has her glorious future been ruined in an instant, but Joachim, is taking his despair out on her, abusing her, telling her he doesn’t want to see her any more. She soon becomes dependent on Niels for support, phoning him at all times of the day and night, initially meeting at the hospital, then, unknown to Marie, at her flat. Niels quickly falls in love with the pretty, fragile 20 year old. It’s easy to continue their affair when his wife, Marie’s guilt makes her pander to the younger woman’s every whim, while she stays home dealing with angst-ridden teenage daughter, Stine (who blames herself for the accident, since it was her argument with her mother that caused it) and their two young sons. When Cecilie goes home from the hospital one day to discover the furniture gone under Joachim’s instruction, in a bid to make her finally get over him, Niels spends the family savings on a new settee, bed, and lamps for her. He gets so caught up in their faux house-building, he gets careless, and soon Stein finds out what’s going on and the shit really hits the fan. This is an excellent study of illicit love, emotional need and family breakdown, which is reminiscent of the work of Cassavetes or Woody Allen in his serious mode. Slightly disappointing that, as a DOGME film, it’s subject matter is so similar to the first of the series - ‘Breaking the Waves,’ with the young couple’s marriage plans/wedding being devastated when the man is crippled, and his subsequent rejection and cruelty to his lover. This film is much gentler in tone though, and rejects the big issues and relentlessness of Von Triers film for a more quiet, level study of longing and broken lives. Despite the pain Niels knows he is inflicting on his family, the viewer feels great sympathy and empathy with him, both, because his feelings have grown out of compassion, rather than lust and due to the immense warmth and humanity director, Blier makes us feel for all the characters. She really does manage to elicit quite perfect performances from the stunning ensemble cast. Mikkelsen smoulders as the alluringly sensitive, Niels. Richter (Cecilie) brings an accomplished, delicate depth to her screen debut as the confused, young woman. Nikolaj Lie Kaas’s strong, proud features are perfect for the stubborn, inwardly raging Joachim. Paprika Steen (Marie) continues to get better and better, from her role in ‘Festen’ where I first saw her and it is good to see the character of the jilted wife being given such a strong, but sympathetic voice. Steen becomes each role effortlessly and has a similar modest power to the wonderful Stockard Channing. Susanne Bier’s extremely close-up photography - the camera seeming to caress the faces of the actors - gives a tangibly raw sense of intimacy and involvement with the characters. The pared down DOGME style also adds beautifully to the gritty realism of the piece. An utterly compelling, refreshingly simple and direct study of compassion, guilt and desire