Director of Photography
The normally so closely united family is having a crisis. Mie and Ole can no longer stand sharing a room, big sister Sis is tired of acting as the family's spare mother, and Father does not have the usual surplus to tackle Uncle Anders' peculiar behavior. Leaving Tiny Per, alone and sad about it all. Uncle Anders therefore enrolls the family to stay at a family therapy center, where they must live as Vikings for a week
Director of Photography
The girlfriend Klara has recently fallen in love and wants nothing more than to hang out with her boyfriend. The mother-of-two Anna clocks how long it takes for her husband to cook baby formula. The ex-wife Vera can't let go of her ex-husband. The feature-film debuting Katja Wik presents a squib right on the money about women's tendency to, both consciously and unconsciously, limit themselves in their close relationships of two. Each frame conveys the film's theme of power manipulation and Katja Wik's neologism "victim-mentality rhetoric" (offerrollsretorik) is used by all parties as an effective weapon. Without stagnating in bitterness, The Ex-wife serves as a funhouse mirror reflecting this disturbing trait, which most of us can recognize, but which few dare to acknowledge
Director of Photography
Due to climate change a new race of flesh eating predators arise, who invade and eat everything living on earth. In a residential neighbourhood in a Danish suburb nightmare like scenes are being experienced first hand through the eyes of two teenage brothers, who can't stand each other, but are now suddenly forced to barricade themselves in the basement together, to avoid getting eaten. From one day to another, without parents and without electricity, food, water and contact to other people, the brothers have to learn to live together in their vital protection bunker, while monsters move past the basement windows and heavy, sharp claws can be heard moving around upstairs on the wooden floors.
