This movie from Danish director Thomas Vinterberg has radically polarised audiences and critics, with art house audiences rhapsodising about its "nightmarish beauty" and Dogma95 fans poking fun at its pretensions. It's been called a 'sci-fi romance', which might lead you to imagine some kind of soft porn starring Spock and Captain Kirk. Not so! It centres on two Polish emigrees in New York in 2021: John (Joaquin Phoenix) is flying to New York to get his estranged wife, ice-skating superstar Elena (Claire Danes), to sign the divorce papers, their relationship having buckled under the strain of "calendars written in different languages". But step by step, shards of a different reality splinter the surface of the plot: the news is filled with reports of lonely Manhattaners dying suddenly of weak hearts on the streets and in the subways. Snow starts to fall in July. And yes, Ugandans have started to fly. This is a futuristic and highly melancholic vision with a message, a comment for contemporary times, about being in thrall to technology, consumerism, commercialism and celebrity, and what is lost in the process. The earthier essentials - Vinterberg seems to want to say (in fact, he sometimes drives it home rather too explicitly) - are becoming buried under blankets of snow.
It'd be easy to mock this film (enough people have done that in newspaper columns and on message boards). But, if you're open to it, this is a beautiful and beautifully different film. There are the ice-skating scenes where four Claire Danes gracefully take to the ice, the authenticity of Joaquin Phoenix's acting, and the sweeping elegies of Zbigniew Preisner's original score. The accents may be a little shaky and there might be what Variety magazine tactfully called "significant deficiencies on the level of storytelling". But this is an ambitious and rewarding film - part thriller, part fairytale - and it's a story worth telling. (3.5 stars)
Extras include trailers and interviews with Phoenix, Danes, Vinterberg and co-scriptwriter Mogens Rukov.