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 Jagten / The Hunt

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Caranaraf
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PostSubject: Re: Jagten / The Hunt   Wed May 30, 2012 10:26 pm

The English version of Mads' speech at Cannes, you can see Mads from 1:25 onwards

Originally posted by BeerIsFood:


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PostSubject: Re: Jagten / The Hunt   Wed May 30, 2012 10:26 pm

Original post by BeerIsFood:

Mads at the Winners Press Conference:


And the Winners Photocall:
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PostSubject: Re: Jagten / The Hunt   Wed May 30, 2012 10:27 pm

Original post by Empress of Cornwall:

Thank you darling BIF!

His little 'shocked face' was hilarious!

Thank you Mads!
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PostSubject: Re: Jagten / The Hunt   Wed May 30, 2012 10:27 pm

Original post by BeerIsFood:









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PostSubject: Re: Jagten / The Hunt   Wed May 30, 2012 10:29 pm

Original post by BeerIsFood:

ThankYOU Sweetheart...

Now, on a humorous note, just incase you were wondering what Mads wore at the closing ceremony:

Twitter-Link


May 28, 2012
Mads Mikkelsen Dons Balenciaga at Cannes Close
By KATYA FOREMAN

MADS MEN: After dressing Brad Pitt for the "Killing Them Softly" premiere at the Cannes International Film Festival earlier in the week, Balenciaga scored another mighty men’s wear hit at the event’s wrap up on Sunday night by dressing Mads Mikkelsen, winner of the best actor award for his performance in Thomas Vinterberg's "The Hunt" in which he plays a kindergarten teacher falsely accused of child abuse. The Danish actor, who wore a sharp black tuxedo designed by Balenciaga's Nicolas Ghesquière, told journalists he plans to keep the trophy in his kitchen, where he likes to hang out.

So, now you know... Laughing Wink

Twitpic


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PostSubject: Re: Jagten / The Hunt   Wed May 30, 2012 10:30 pm

Original post by BeerIsFood:


How's your Danish? Nikolaj Arcel discusses Mads, how skilful he is, on morning TV:


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PostSubject: Re: Jagten / The Hunt   Thu May 31, 2012 4:44 am

This article is related to Mads' Cannes win for The Hunt:

http://cphpost.dk/culture/one-eyed-mads-hunt-leading-man-roles

One-Eyed Mads in hunt for leading man roles
Shandana Mufti

May 31, 2012 - 08:54
Mads Mikkelsen, Hollywood's favourite monocular character actor, has become the first ever Dane to win the best actor prize at the Cannes Film Festival
Mikkelsen with both eyes on the prize. (Photo: Anne-Christine Poujoulat)
Mads Mikkelsen, a veteran of Danish film best known internationally for playing Le Chiffre in the 2006 James Bond film ‘Casino Royale’, was awarded the best actor award at the Cannes Film Festival on Sunday for his role in the psychological thriller ‘The Hunt’ ‘Jagten’, which is set in Denmark and directed by Dane Thomas Vinterberg.

‘The Hunt’ premiered on May 20 at Cannes, after which reviewers were generous with their praise for Mikkelsen’s performance. The film was popular with critics and buyers alike, and has thus far been sold to 20 countries, including the United Kingdom, Italy, France and Israel.

“Propelled by Mads Mikkelsen’s shattering performance as the blameless man whose life threatens to be destroyed, the film is superbly acted by a cast that never strikes a false note or softens the impact with consolatory sentiment,” wrote a reviewer for The Hollywood Reporter.

Mikkelsen plays Lucas, a kindergarten teacher recovering from a bitter divorce and separation from his son, Markus. Klara, the five-year-old daughter of Lucas’s friend Theo, develops a crush on Lucas, which he tries to discourage gently. Klara responds by telling kindergarten supervisor Grethe that Lucas exposed himself to her.

The tight-knit community is shocked into action by these allegations, and Lucas finds himself ostracised. The film follows Lucas’s struggle with isolation in a society quick to shun an innocent man.

“He would call me at any time asking different questions about the scenes and coming up with new lines,” Vinterberg said of Mikkelsen’s performance in an interview with Film4 Magazine. “And when an actor gets the feeling that he knows the character through conversation and improvisation, then all the small details come. He feels calm enough to disappear into the unknown.”

The award will cement Mikkelsen’s status as one of cinema’s leading men and opens up a wider range of roles for him, according to Filmmagasinet Ekko editor Claus Christensen.

“His career has already taken off, but maybe bigger directors will also want to be a part of it now,” Christensen said.

‘The Hunt’, which will be released on 10 January 2013 in Denmark, also won a prize, the 2012 Ecumenical Jury award. The jury praised the film for “showing us a new way of looking at modern society where men and children are concerned; things are not always what they seem”. Lars von Trier won the same award in 2009 for ‘Antichrist’.

And Charlotte Bruss Christensen, the cinematographer on ‘The Hunt’, won the ‘Vulcain Prize of the Technical Artist’ for her work, securing a total of three honours for the film.

‘The Hunt’ was also in the running for the Palme d’Or, the festival’s award for best film, but lost to ‘Amour’, an Austrian film directed by Michael Haneke. Mikkelsen dedicated his win to Vinterberg, who was back at Cannes 14 years after his acclaimed incest drama ‘Festen’ won the Jury prize.

“More than 80 percent, maybe 82 percent, of this is Thomas Vinterberg’s prize,” Mikkelsen said as he accepted the award.
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PostSubject: Re: Jagten / The Hunt   Thu May 31, 2012 1:06 pm

That's our Mads - for all we sometimes tease... he really is a sweet and modest guy!
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PostSubject: Re: Jagten / The Hunt   Sat Jun 02, 2012 7:26 am

Mads talk about his role in The Hunt:
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PostSubject: Re: Jagten / The Hunt   Sat Jun 02, 2012 11:52 am

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PostSubject: Re: Jagten / The Hunt   Sat Jun 02, 2012 12:23 pm

Thank you darling!
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PostSubject: Re: Jagten / The Hunt   Mon Jun 04, 2012 8:45 am

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PostSubject: Re: Jagten / The Hunt   Mon Jun 04, 2012 8:56 am

BeerIsFood wrote:
Mads Mikkelsen, a veteran of Danish film best known internationally for playing Le Chiffre in the 2006 James Bond film ‘Casino Royale’, was awarded the best actor award at the Cannes Film Festival on Sunday for his role in the psychological thriller ‘The Hunt’ ‘Jagten’, which is set in Denmark and directed by Dane Thomas Vinterberg.

I don't think this will be a psychological thriller. It will be a good drama - surely thrilling because of Mads way to act but not because of the story. A thriller is a movie which has elements which change the story and makes you fear with the person/hero ... that's the thrilling. It's a crime story.

But "Jagten" is a drama, isn't it? A drama with a touching story and with an wonderful Mads.
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PostSubject: Re: Jagten / The Hunt   Mon Jun 04, 2012 8:59 am

I would see it more as a drama than a thriller, yes...Hope I don't have to wait until next year to find out.
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PostSubject: Re: Jagten / The Hunt   Mon Jun 04, 2012 1:29 pm

Perhaps they mean psychological regarding the way that an entire town can turn against a man based on a little girls story...

My brother is in contact with his danish friend Lene so maybe I can get some good news from her soon about our Mads...
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PostSubject: Re: Jagten / The Hunt   Tue Jun 05, 2012 2:58 pm

I'll come back with more stuff but meanwhile:
Magnolia Picks Up U.S. Rights to Cannes Best Actor Winner 'The Hunt'
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PostSubject: Re: Jagten / The Hunt   Tue Jun 05, 2012 6:54 pm

Please do not copy only the link, but the article too! Thank you!

Quote :
Magnolia Picks Up U.S. Rights to Cannes Best Actor Winner 'The Hunt'

3:45 AM PDT 5/30/2012 by Scott Roxborough

Mads Mikkelsen won Cannes Best Actor prize playing a man falsely accused of abuse in Thomas Vinterberg’s Danish drama.

COLOGNE, Germany - Magnolia Pictures has acquired Thomas Vinterberg's Cannes Competition title The Hunt for U.S. distribution from sales group TrustNordisk.

Mads Mikkelsen won Cannes' Best Actor prize for his starring role in the film as a quiet kindergarden teacher falsely accused of sexually abusing a child. Critics, including THR's, have praised The Hunt as a return to form for Vinterberg, best known for his acclaimed debut, The Celebration (1998).

"Thomas Vinterberg demonstrates his directorial mastery in his finest work since The Celebration," said Magnolia Pictures president Eamonn Bowles. "Mads Mikkelsen's performance more than validates his Best Actor Award at Cannes."
Magnolia has become a go-to U.S. partner for TrustNordisk. Recent deals between the U.S. distributor and the Scandinavian sales giant include ones for Lars Von Trier's Melancholia and Nikolaj Arcel's A Royal Affair, which premiered at the Berlin Film Festival in February.

“We are so thrilled to have Magnolia on board with The Hunt," said TrustNordisk sales head Susan Wendt. "They are a great and dedicated team and will do a fantastic job for the film, just as they have for some of our previous films.”

Trust has nearly sold out The Hunt since its Cannes debut. New deals signed include ones for Germany/Austria (WildBunch), Spain (Golem), Canada (Mongrel Media), Australia (Madman), Japan (Kino Films) and Brazil (California Filmes). Arrow Films picked up the title for the U.K., with Pretty Pictures snatching French rights and Bim Distribuzione taking Italy.

Source: Hollywoodreporter
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PostSubject: Re: Jagten / The Hunt   Thu Jun 07, 2012 6:58 am

Here's an article from the Catholics, because The Hunt won the Ecumenical Film Prize in Cannes. There are some Spoilers inside about the end or what happened in the movie. I try to mark that for you. But it's a good review for the movie!

Quote :
Cannes: Ökumenischer Filmpreis geht an Dänen Thomas Vinterberg

Sein Film "Jagten" schildert das Schicksal eines engagierten Erziehers, der zu Unrecht beschuldigt wird, Kinder sexuell missbraucht zu haben

26.05.2012

Cannes, 26.05.2012 (KAP) Der Film "Jagten" des dänischen Regisseurs Thomas Vinterberg hat beim 65. Filmfestival in Cannes den Preis der Ökumenischen Jury gewonnen. Dies gab das Preisgericht am Samstag in Cannes bekannt. Der Film handelt von einem engagierten Erzieher, der zu Unrecht beschuldigt wird, Kinder sexuell missbraucht zu haben. Da niemand daran zweifelt, ist er bald ohne Job, wird geschlagen und gedemütigt sowie zunehmend gesellschaftlich geächtet. Filmkritiker lobten das Werk vor allem wegen der schauspielerischen Leistung des Hauptdarstellers Mads Mikkelsen.

Der Preis der Kirchen geht seit 1974 an einen Film, der sich in besonderer Weise christlich-spirituellen Dimensionen der menschlichen Existenz widmet. Zu den bisherigen Preisträgern gehören die Regisseure Rainer Werner Fassbinder, Wim Wenders und Michael Haneke. Die sechsköpfige Jury wurde in diesem Jahr vom Schweizer Theologen und Filmpublizisten Charles Martig geleitet.

Mit "Jagten" hat die Ökumenische Jury einen Film ausgezeichnet, der konträr zur öffentlichen Debatte über Pädophilie und Kindesmissbrauch steht. Die Fabel von dem zu Unrecht beschuldigten Erzieher Lucas, mit großer emotionaler Glaubwürdigkeit inszeniert und in der Hauptrolle von Mads Mikkelsen mit wachsender Verunsicherung gespielt, lässt über die Abgründe schaudern, die sich in einer alarmierten Gesellschaft auftun können.

Ein kleines Mädchen plappert im Kindergarten aufgeschnappte Sätze nach, die von den Erwachsenen als sexueller Missbrauch gedeutet werden. Die knappe Andeutung genügt, um einen beängstigenden Mechanismus in Gang zu setzen. Die Kindergärtnerin schiebt ihre Verunsicherung mit dem Verweis beiseite, dass Kindermund Wahrheit kund tut. Ihr Vorgesetzter verschanzt sich hinter dem formalisierten Verfahren, die Eltern der anderen Kinder erliegen der um sich greifenden Hysterie, Gerüchte, Unterstellungen und die Dynamik öffentlicher Vorverurteilung bauschen sich in Windeseile zu einem Sturm auf, der immer gewaltsamere Kreise zieht.

"Jagten" ist das Gegenstück zu Vinterbergs "Das Fest" (1998), in dem ein Sohn bei einer Familienfeier den Vater des sexuellen Missbrauchs beschuldigt. Das innovative Drama, mit dem die dänische "Dogma '95"-Philosophie ihren Siegeszug begann, orchestrierte damals eine wachsende Sensibilität der bürgerlichen Gesellschaft für das Thema des sexuellen Missbrauchs.

Der neue Film "Jagten", auch inszenatorisch fast ein Gegenentwurf zur harschen Handkamera-Ästhetik, wechselt nun die Seiten. Bar jeder Ambivalenz, lässt er an Lucas' Unschuld nie den leisesten Zweifel aufkommen. Er stellt vielmehr einen sensiblen Mann in den Mittelpunkt, der sich mit hartnäckiger Geduld darum bemüht, mehr Zeit mit seinem pubertierenden Sohn verbringen zu dürfen. Lucas ist ein Vater wie aus dem Erziehungsratgeber, ein aufmerksamer, zugänglicher Freund, verlässlich, berührbar und doch standfest.

In seiner Figur manifestiert sich eine "neue", sensiblere Männlichkeit, die im merklichen Kontrast zu seinen rüden Kumpanen steht, mit denen er zu Beginn und am Endes des Films auf der Jagd durch die Wälder streift.
Spoiler:
 



Cannes Ecumenical Film Prize goes to Dane Thomas Vinterberg

His film "hunts" describes the fate of a committed educator, who is wrongly accused of having sexually abused children

26/05/2012

Cannes, 26.05.2012 (KAP), the film "hunts" by Danish director Thomas Vinterberg has the 65th Cannes Film Festival, won the prize of the Ecumenical Jury. That the jury was announced at Cannes on Saturday. The film is to have children sexually abused by a dedicated educator who is wrongly accused. Since no one can doubt he will soon be without a job, being beaten and humiliated and ostracized by society growing. Film critics praised the work, especially because of the acting performance of the lead actor Mads Mikkelsen.

The price of the churches since 1974, goes to a film that is dedicated in a special way Christian-spiritual dimensions of human existence. Among the previous winners include directors Rainer Werner Fassbinder, Wim Wenders and Michael Haneke. The six-member jury was headed Martig this year by the Swiss theologian and film publicist Charles.

By "hunts" the Ecumenical Jury has awarded a film that is contrary to the public debate on pedophilia and child abuse. The tale of the unjustly accused educator Lucas, directed with great emotional credibility and played the main role of Mads Mikkelsen with increasing uncertainty makes one shudder over the abyss, which may open up in a society alarmed.

A little girl babbles in kindergarten overheard phrases that are interpreted by adults as sexual abuse. The brief allusion is sufficient to trigger a frightening mechanism in motion. The kindergarten teacher shoves her aside uncertainty by pointing that children mouth of babes doing. Your supervisor has become entrenched in the formal proceedings, the parents of other children succumb to the rampant hysteria, rumor, innuendo and the dynamics of public prejudice billow like wildfire in a storm, the ever more violent circles.

"Hunts" is the counterpart of Vinterberg's "The Celebration" (1998), which accuses the son of a family celebration the father of sexual abuse. The innovative drama that began with the Danish "Dogma '95" philosophy to conquer orchestrated, then a growing awareness of civil society on the issue of sexual abuse.

The new film "hunts" and directorial almost a counterpoint to the harsh hand-held camera aesthetic, now changes to the site. Devoid of any ambiguity, it can be to Lucas' innocence never pay the slightest doubt. It is rather a sensitive man in the center, which is working with stubborn patience to be allowed to spend more time with his teenage son. Lucas is like a father in the parenting books, an attentive, accessible friend, reliable, tangible and yet stable.

In his character manifests a "new" sensitive masculinity, which is in marked contrast to his rude companions, with whom he touches at the beginning and end of the film on the hunt through the woods.
Spoiler:
 

Source: Katholische Presseagentur Österreich




A few differences in this article:

Quote :
FILMFESTSPIELE CANNES 2012

Ökumenischer Filmpreis für Thomas Vinterberg

Der Film "Jagten" des dänischen Regisseurs Thomas Vinterberg hat beim 65. Filmfestival in Cannes den Preis der Ökumenischen Jury gewonnen. Sein Film thematisiert das Schicksal eines Erziehers, der zu Unrecht des sexuellen Missbrauchs von Kindern bezichtigt wurde.

Ein kleines dänisches Städtchen im November. Hier kennen sich viele von Kindesbeinen an. Lucas (Mads Mikkelsen), eine Seele von Mensch, ist Lehrer von Beruf, arbeitet jetzt aber im Kindergarten. Hingebungsvoll, mit viel Herz und Verständnis. Bis ein kleines Mädchen aufgeschnappte Sätze nachplappert, die von den Erwachsenen als sexueller Missbrauch gedeutet werden.

Ehe sich der stille Mann versieht, bricht ein Sturm über ihn herein, der seine ganze bisherige Existenz unter sich begräbt. Ohne auch nur einmal angehört zu werden, verliert er seinen Job, wird gedemütigt, geschlagen und ausgestoßen; seine Freunde wenden sich brüsk von ihm ab, die Ex-Frau verbietet den Kontakt zu seinem Sohn. An Weihnachten sitzt er schwer misshandelt und mit zerschlagenem Gesicht in seinem Haus. Doch dann rafft er sich auf und humpelt zur Christmette.

Mit dem bedrängenden Drama "Jagten" des dänischen Regisseurs Thomas Vinterberg hat die Ökumenische Jury beim 65. Filmfestival in Cannes einen Film ausgezeichnet, der konträr zur öffentlichen Debatte über Pädophilie und Kindesmissbrauch steht. Die Fabel von einem zu Unrecht Beschuldigten, mit großer emotionaler Glaubwürdigkeit inszeniert und in der Hauptrolle von Mads Mikkelsen mit wachsender Verunsicherung gespielt, lässt über die Abgründe schaudern, die sich in einer alarmierten Gesellschaft auftun können.

Die knappe, trotzige Andeutung einer Vierjährigen genügt, um einen beängstigenden Mechanismus in Gang zu setzen. Die Kindergärtnerin schiebt ihre Verunsicherung mit dem Verweis beiseite, dass Kindermund Wahrheit kund tut. Ihr Vorgesetzter verschanzt sich hinter dem formalisierten Verfahren, die Eltern der anderen Kinder erliegen der um sich greifenden Hysterie, Gerüchte, Unterstellungen und die Dynamik öffentlicher Vorverurteilung bauschen sich in Windeseile zu einem Sturm auf, der immer gewaltsamere Kreise zieht.

"Jagten" ist das Gegenstück zu Vinterbergs "Das Fest" (1998), in dem ein Sohn bei einer Familienfeier den Vater des sexuellen Missbrauchs beschuldigt. Das innovative Drama, mit dem die dänische "Dogma "95"-Philosophie ihren Siegeszug begann, orchestrierte damals eine wachsende Sensibilität der bürgerlichen Gesellschaft für das Thema des sexuellen Missbrauchs.

Der neue Film "Jagten", auch inszenatorisch fast ein Gegenentwurf zur harschen Handkamera-Ästhetik, wechselt nun die Seiten. Bar jeder Ambivalenz, lässt er an Lucas" Unschuld nie den leisesten Zweifel aufkommen. Er stellt vielmehr einen sensiblen Mann in den Mittelpunkt, der sich mit hartnäckiger Geduld darum bemüht, mehr Zeit mit seinem pubertierenden Sohn verbringen zu dürfen. Lucas ist ein Vater wie aus dem Erziehungsratgeber, ein aufmerksamer, zugänglicher Freund, verlässlich, berührbar und dennoch kein Weichei.

In seiner Figur manifestiert sich eine "neue", sensiblere Männlichkeit, die im merklichen Kontrast zu seinen rüden Kumpanen steht, mit denen er zu Beginn und am Endes des Films auf der Jagd durch die Wälder streift. Schon rein äußerlich unterscheidet sich Lucas von den bullig-polternden Gestalten, die sich ihren testosterongetriebenen Ritualen ergeben und im Konfliktfall schnell mit den Fäusten reagieren.

Lucas dagegen scheint sich anfangs gar nicht verteidigen zu können, so fassungslos erlebt er seinen sozialen Ausschluss. Es dauert lange, bis der Punkt erreicht ist, an dem er sich zur Wehr setzt. Als er beim weihnachtlichen Einkauf keine Lebensmittel erhält und vom Fleischer auch noch brutal zusammengeschlagen wird, macht er kehrt und bietet die Stirn.

Doch der körperliche Widerstand allein würde über die symbolische Geste hinaus nicht viel bewirken. Auch deshalb dient die Chrismette als Ort der eigentlichen Konfrontation, an dem der malträtierte Mann seine Unschuld verteidigt. "Jagten" ist ein Film über einen, der alles verliert, der ausgestoßen und seiner bisherigen Existenz beraubt wird. Und der dennoch ein Happy End erlebt, zumindest ein halbes. Denn: Etwas bleibt immer hängen.


CANNES FILM FESTIVAL 2012

Ecumenical Film Prize for Thomas Vinterberg

The film "hunts" by Danish director Thomas Vinterberg has the 65th Cannes Film Festival, won the prize of the Ecumenical Jury. His film about the fate of an educator who has been unjustly accused of sexual abuse of children.

A small Danish town in November. Here are many familiar from childhood. Lucas (Mads Mikkelsen), a human soul is a teacher by profession, but now works in the kindergarten. Devoted, with a lot of heart and understanding. Until a little girl overheard parroting phrases that are interpreted by adults as sexual abuse.

Marriage is still the man adds, a storm broke in upon him, burying his whole previous existence among themselves. Without even being heard only one time, he loses his job, is humiliated, beaten and exhausted, his friends turn abruptly away from him, the ex-wife forbids contact with his son. At Christmas, he sits with severely abused and battered face in his house. But then he pulls himself together and limped to the Christmas.

With the distressing drama "hunts" by Danish director Thomas Vinterberg, the Ecumenical Jury at the 65th Cannes Film Festival awarded a film that is contrary to the public debate on pedophilia and child abuse. The tale of a wrongly accused staged, with great emotional credibility and played the lead role of Mads Mikkelsen with increasing uncertainty makes one shudder over the abyss, which may open up in a society alarmed.

The terse, defiant suggestion of a four year old is enough to trigger a frightening mechanism in motion. The kindergarten teacher shoves her aside uncertainty by pointing that children mouth of babes doing. Your supervisor has become entrenched in the formal proceedings, the parents of other children succumb to the rampant hysteria, rumor, innuendo and the dynamics of public prejudice billow like wildfire in a storm, the ever more violent circles.

"The Hunt" is the counterpart of Vinterberg's "The Celebration" (1998), which accuses the son of a family celebration the father of sexual abuse. The innovative drama, with the Danish "Dogma" 95 "philosophy began its triumphal march orchestrated, then a growing awareness of civil society on the issue of sexual abuse.

The new film "hunts" and directorial almost a counterpoint to the harsh hand-held camera aesthetic, now changes to the site. Devoid of any ambiguity, it can be to Lucas' innocence never pay the slightest doubt. It is rather a sensitive man in the center, who is working with stubborn patience to be allowed to spend more time with his teenage son. Lucas is a father at the same the parenting books, an attentive, accessible friend, reliable, and yet no tangible wimp.

In his character manifests a "new" sensitive masculinity, which is in marked contrast to his rude companions, with whom he touches at the beginning and end of the film on the hunt through the woods. Even from the outside, Lucas is different from the brawny-thumping characters who are their testosterone-driven rituals arise and react quickly in case of conflict with his fists.

Lucas, however, did not initially seem to be able to defend, so upset he experienced his social exclusion.
Spoiler:
 

Source: Badische Zeitung




Quote :
Cannes: Ökumenischer Filmpreis für «Jagten»

29.05.2012 10:20 Von: ref.ch News/kipa

Der Film «Jagten» des dänischen Regisseurs Thomas Vinterberg hat am 26. Mai beim 65. Filmfestival in Cannes den Preis der Ökumenischen Jury gewonnen. Lobend erwähnt wurde «Beasts of the Southern Wild» aus den USA.

«Jagten» handelt von einem engagierten Erzieher, der zu Unrecht beschuldigt wird, Kinder sexuell missbraucht zu haben. Da niemand an seine Unschuld glaubt, ist er bald ohne Job, wird geschlagen und zunehmend gesellschaftlich geächtet.

Die Inszenierung von Thomas Vinterberg überzeugt gemäss der Medienmitteilung der Jury durch ihre Klarheit und Kraft: «Der Film eröffnet eine überraschende Perspektive auf die moderne Gesellschaft, insbesondere auf das Verhältnis von Eltern und Kindern; nicht immer sind die Dinge so, wie sie auf den ersten Blick erscheinen.» Filmkritiker lobten das Werk vor allem wegen der schauspielerischen Leistung des Hauptdarstellers Mads Mikkelsen.

Eine lobende Erwähnung der Jury geht zudem an «Beasts of the Southern Wild», das Rediedebüt von Benh Zeitlin, USA. Der Film beleuchte die fundamentalen Grundzüge von Freiheit, menschlichem Leben und elterlicher Liebe mit tiefer Empathie und echter Originalität. «Eine wahre Ode auf den Sinn des Lebens, die Liebe und die Hoffnung!», schwärmt die Jury.

Der Preis der Kirchen geht seit 1974 an einen Film, der sich in besonderer Weise christlich-spirituellen Dimensionen der menschlichen Existenz widmet. Zu den bisherigen Preisträgern gehören die Regisseure Rainer Werner Fassbinder, Wim Wenders und Michael Haneke. Die sechsköpfige Jury wurde in diesem Jahr vom Schweizer Theologen und Filmpublizisten Charles Martig geleitet.


Cannes Ecumenical Film Award for "The Hunt"

29.05.2012 10:20 From: ref.ch News / kipa

The film "hunts" by Danish director Thomas Vinterberg on 26 May at the 65th Cannes Film Festival, won the prize of the Ecumenical Jury. Honorable mention, "Beasts of the Southern Wild" was from the United States.

"Hunts" is to have children sexually abused by a dedicated educator who is wrongly accused. Since no one believes in his innocence, he is now without a job, being beaten and ostracized by society growing.

The production of Thomas Vinterberg believe according to the press release of the jury by its clarity and force: "The film opens a surprising perspective on modern society, in particular the relationship between parents and children, not always, things are as they at first sight appear. "film critics praised the work, especially because of the acting performance of the lead actor Mads Mikkelsen.

An honorable mention goes to the jury in addition to "Beasts of the Southern Wild" , the Rediedebüt of Benh Zeitlin, USA. The film illuminating the fundamental basics of freedom, human life and parental love, with deep empathy and genuine originality. "A true ode to the meaning of life, love and hope!" Enthused the jury.

The price of the churches since 1974, goes to a film that is dedicated in a special way Christian-spiritual dimensions of human existence. Among the previous winners include directors Rainer Werner Fassbinder, Wim Wenders and Michael Haneke. The six-member jury was headed Martig this year by the Swiss theologian and film publicist Charles.

Reformierte Presse Schweiz
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PostSubject: Re: Jagten / The Hunt   Sun Jun 17, 2012 11:20 pm

Does anyone knows, where to find the speech of Mads in Cannes in words (not the video)? I've searched for a while, but didn't find anything.
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PostSubject: Re: Jagten / The Hunt   Tue Jun 26, 2012 5:10 am

Quote :
Taut, tense Cannes hit The Hunt, starring a terrific Mads Mikkelsen, has a UK release date. @ArrowFilms are releasing it on November 30th.
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PostSubject: Re: Jagten / The Hunt   Mon Jul 30, 2012 11:46 pm

I dunno if that one was posted yet. I put it here because it has a lot of this movie in it.

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PostSubject: Two reviews from the TIFF 2012   Fri Sep 14, 2012 11:00 am

Quote :
TIFF 2012 Review: THE HUNT Searches for Provocation (and Finds it in an Unexpected Place)

Kurt Halfyard, 10. September 2012, 9:15 am

There is no arguing the craft on display in Thomas Vinterberg's small-town, big-drama showcase The Hunt. Mads Mikkelsen turns in the performance of his career - and if you look back on his career so far, that is an impressive feat - as Lucas, a volunteer teacher at a kindergarden school who is accused and, later, ritually abused by his own friends and neighbors after one of his students, young Klara, in a fit of childish pique accuses him of 'pointing his willie' at her. The cinematography, all warm and woody prior to the accusation turns all white and frigid when the milk is spilt. The supporting characters all play their parts to whip the audience into a conflicting bit of rage at how a) we hate pedophiles and b) how we hate to see others rush to judgement.

Sure, it feels OK when we do it.

When I see the Zentropa logo come up in front of a film, my knee-jerk reaction is that the film will be a provocation. After all, Lars von Trier is not only one of the co-founders of the company that deals in that sort of cinema, but he created the Dogme95 movement with Vinterberg as well. Their previous effort Dear Wendy springs to mind as something that is both hysterical and hysterically funny. The Hunt is not that exactly, its satire more sublimated; it aims to tickle a slightly more refined dramatic palette. But it is guilty of leading the witness, both literally in one particular interrogation in the film, and figuratively as it piles on a lot of emotional baggage instead of letting Mikkelsen's fab performance stand on his own.

Lucas is going through a chilly divorce with custody of his teenage son in the balance, but otherwise he is a 'head held high, feet on the ground' sort of guy in town and a central figure in the circle of men (who hunt) in the rural community. In particular, his best friend Theo, who is father of Kayla, has a long standing friendship based partly in male goofing off, but warm and trusting. He is tentatively dating the only non-local (English speaking) woman at the kindergarden school and he seems to have the most fun at the school with the kids. Hell, it's Christmas! If you've watched movies before, then you know where this is going. You will intuitively feel the beats of this story, even as Vinterberg does his best to keep the audience on its toes with weird indicators and ominously misleading bits of foreshadowing.

The curious thing about the picture is that despite it being an act of empathy for Lucas, even if his only flaw is casual aloofness, it is equally a savage attack on all the women in town. The principal of the kindergarden (and her forever nodding sewing circle of volunteers) is at best incompetent, at worst dangerous; the soon to be ex-wife is absent, unless you count Lucas' dog angrily barking every time her name is spoken aloud; the new girlfriend is easily pushed away after she hesitates in her convictions towards defending Lucas, and then just as easily drifts back in later in the picture. Even worse is Theo's wife Agnes, who either plays the men against one another passive-aggressively or tries to avoid direct confrontation by running away.

If von Trier turns his women (Antichrist notwithstanding) into otherworldly martyrs, Vinterberg seems to be aiming for shrews. Once this pops out at you, it's hard to watch the film where the flawed but forgiving men do all the thinking and soul-searching, while the women yell 'FIRE' in the crowded theatre, and duck out by the service exit. Even Kayla, ably played by young Annika Wedderkopp, takes her leave for the middle bulk of the movie once she gets the ball rolling.

The Hunt postulates that decorum and discretion, once the ugly-cat is out of the bag, is a useless gesture; the only way to get things done is direct and to the point male rudeness. It suggests we let the men wrassle in the corner and then hug afterwards, because the women are not going to solve this thing (and even then, there is going to be lingering poison and scar tissue.) I cannot wait to read the inevitable Women's Studies PhD thesis on this movie. Zentropa does it again!

Source: Twichtfilm




Quote :
TIFF in a capsule: 'The Company You Keep' and 'The Hunt'

BY: DAVID VOIGT, SEPTEMBER 10, 2012

During a major international film festival like the Toronto International Film Festival going on right now until Sept 16th at theatres all across the city of Toronto, time is often quite precious between screenings as the films are coming at the viewers at an incredibly fast rate. As we look at ‘TIFF in a capsule’ once again we delve into some of the darker areas of society and acceptable behavior in two very different ways. It’s time to get back on the festival trail with “The Company You Keep” & “The Hunt”.

“The Company You Keep” follows Jim Grant (Robert Redford), a civil rights lawyer and single father, who must go on the run when a brash young reporter (Shia LaBeouf) exposes his true identity as a former 1970s radical fugitive wanted for murder. Sparking a nationwide manhunt, Grant sets off on a cross‐country journey to clear his name, while the reporter digs even deeper into his past. Adapted from the novel by Neil Gordon; “The Company You Keep” is easily one of the more accessible films that Redford has directed in recent years. Rather than hitting the viewer over the head again and again with his political message he manages to wrap it up quite nicely inside the frame work of a thriller that is reminiscent of the political thrillers of the 1970’s some of which Redford even starred in. With an over loaded ensemble cast that suffers through a little bit of over casting as one scene from the next brings a cavalcade of award winning actors along with a solid yet slightly unrealistic performance from Redford who was running from cars and hopping over fences in this one at 76 years old, this was an accessible and entertaining thriller that won’t turn off any moviegoers who may not agree with Redford’s politics. It was very solid cinematic entertainment from top to bottom.

“The Hunt” starring Mads Mikkelsen is a disturbing story about how lies can be perceived as truth; with devastating results. Lucas (Mikkelsen) is a humble kindergarten teacher. Just as he is recovering from a tough divorce, one of his students falsely claims that Lucas exposed himself to her. That ignites a witch hunt, with just about everyone ostracizing Lucas, including his deer-hunting buddies. Co-writer/director Thomas Vinterberg doesn’t exactly have a track record of making emotionally uplifting films, but with “The Hunt we get a jarring and intense experience at the theatre. Films like this being and end with the performance from their lead and in this film we get a stunning turn from the always excellent Mads Mikkelsen. As Lucas, we don’t get histrionics or campy over acting from Mikkelsen but we do get the sense of a man carrying the weight of the world on his shoulders as the facts quickly get distorted and blurred in the spirit of protecting the children. Vinterberg paints a very stark emotional canvas but a seemingly realistic one as well, as this man’s life and his town that turns on him in the blink of an eye making him a pariah who may never regain his standing, regardless of the truth. That in concert with Mikkelsen who is just heartbreaking we are sucked into the scary realities of this man’s life and it makes for one of the more thrilling and compelling watches of the festival so far.

“The Company You Keep” has one more screening today at the TIFF Bell Lightbox at 11:15AM and will be released at some point in the near future from our friends at eOne Films. “The Hunt” has two screenings during TIFF, tonight at 9:15PM and on Wednesday the 12th at 3PM both taking place at the TIFF Bell Lightbox, “The Hunt” will be released next spring in Canada from our friends at Mongrel Media. You can visit the TIFF website right here for more information on these or any other films playing during the festival.

Don’t forget to subscribe to my feed above or follow me on Facebook and Twitter as the Pop Culture Poet for all the latest and greatest news and reviews from the world of entertainment.

Source: Examiner

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PostSubject: Re: Jagten / The Hunt   Sat Sep 15, 2012 12:18 pm

Quote :
JAGTEN (THE HUNT, 2012) at 65th Cannes

Transcribed by: Vanessa McMahon

On May 20th, the film ‘JAGTEN’ (‘THE HUNT’ 2012) premiered at the 65th Cannes Film Festival in Official Competition. A press conference was held with Danish director Thomas Vinterberg, screenwriter Tobias Lindholm and cast Mads Mikkelsen and Susse Wold.

Excerpt from ‘THE HUNT’ (2012) press conference at 65th Cannes Film Festival:


Q to Mads: First of all we loved seeing you as a brute in ‘Valhalla Rising’ (2009) but also are thrilled when you do a contemporary story that is a very human drama like this when you’re at your best from our point of view. And I’m curious from your point of view what thrill there is to embrace a story like this and what you want to tell about the saga that Thomas made.

Mads: Well, there’s many ways to approach a story but I think that one is the story itself. Another thing is working with Thomas, a different way is for working with one of my friends I’ve never worked with and focusing on the character itself. We were pretty firm from the beginning we were not making this into a thriller because we are talking about an innocent man.

Q to Linholm: At which point did Mr. Lindholm come in and what did you bring to the part, Sir?

Lindholm: Well, when Thomas and I had finished ‘Submarino’ (2012) we had agreed to work together again. We found it quite fun to write together. We are writing in the same way. We like professional stories and to tell in reality so with us reality was there and that’s how it came to tell about this story we had. I became a father during ‘Submarino’ so the paranoia of being a parent was in me and I was very intrigued when Thomas came asking about this story so that’s when I jumped in and then we just started to talk about the subject. And what was most important from the beginning was to say that this is a man who didn’t do it. So, you can say of course we read a lot of cases abut the subject but most of all we looked at this as a Witch Hunt, which has happened in history for a long time. The difference in the 50’s in the US was that it was communist. After the 2nd World War then it was Nazi’s but here is a hunt down of a person and to put that into some kind of well structured story was our goal so that’s what we did.

Q to Thomas: It is a powerful film with powerful actors. I’m specifically interested with how you worked with the child actor and how much of the plot did you tell her and how did you elicit reactions from her?

Thomas: Well, Annika, she is a natural talent. She’s just incredible. We all felt very fearful when she was around. She’s just really incredibly good. It’s not just that I’m a genius. Well, yes, I am a genius. LOL. But in this case she did it on her own and she had a very good trainee who was absolutely splendid and she understood what I was talking about but of course we did not let her into the dirty world of the story. She understood that this guy did something wrong, or did not do something wrong, but she understood the plot without being led into the world of sexuality. She’s brilliant and the dog was brilliant too and there was a lot of pressure on these people.

Q to Mads: When you meet Klara again, there is a moment of hesitation and awkwardness. But the character doesn’t feel that awkwardness with anybody else after the time passes. How do think the character would have reacted to all those people aside from Kara? Did you feel that it was entirely authentic that he’s completely real with everybody else except Klara?

Mads: Yes I did in the sense that we created a very stubborn person, but at the same time we created a person who had difficulties saying ‘no’ and putting his foot down which is a combination from hell in a situation like this. No, he insisted on staying there, at shopping at this shopping mall, at going to this church so he insists that his friends are still his friends. It’s not easy for him but if you have to go that way down that path you have to do it fully. 100%. No, but the story for the end we were discussing that for a long time, how we should finish the story with the little girl. We had many options and then it was such a simple thing that Thomas saw this flaw full of lines and then said ‘this is the scene’ so that came up and then, wait, what was the question? Did I answer it?

Q to Thomas: To me the film was of child abuse issue was not the main issue. For me what the main issue was how quickly people can betray each other. I have a two part question. One, what personally interested you about the psychology of betrayal? Second, the decision to not make it black and white that goes back to the friend or embracing the friend so that there is almost a happy ending?

Thomas: (Sigh) Oh, happy ending! We are not used to that in Denmark! (laughs). It’s a dark and sinister country! Listen, I don’t know if I can answer your question. What I can say is that I find that nobody betrays anyone in this film. I think that I could defend each one of these characters and their movements. She’s a woman trying to protect her child. And Tobias and I, we worked all the way through the script to defend these characters, to understand how they move, why they emotionally choose the wrong pattern or the wrong hat you say. The mother, the child, reacts desperate but understandable. They don’t betray. They just try to defend an innocent child and that’s what’s so difficult about these cases because we don’t know what’s true and what’s not true. This is the danger of these cases and that’s what we found very alarming when we read this material. Did I answer? My answer was a ‘no’, it’s not betrayal.

Q to Thomas: I found the women in the film very intimidating and scary women although with very good reason. So did you write from research or can you explain these women?

Thomas: You’re from Sweden right? LOL. Well, first of all I want to say, let’s save the gender role debate to Scandinavia. We are in France and I’m aware that only men directors made competition this year and I’m aware that there are quite scary women in this film but this is not an attempt to make any attack on any women from us. This is an attempt to sink into reality mostly women who populate daycares and institutions in Denmark. I’ve always wanted to make a friendship between these two particular actors and they happened to be men. That’s why so I can’t come back with a long deep answer or motivation of how things ended up that way. By the way, I love these women. I understand them and I love them and adore them.

Q to Susse: Do you agree with the characters you portray? And if you have a tale to tell about your director this is your chance:

Susse: I understand what you’re saying about the mean women […] I had no imagination here. I had to get help. It’s like one little feather becomes five hands like a Hans Christian Anderson story. It’s about gossip and about a Witch Hunt. And in a way everybody is innocent. She is also innocent because she believes after the interview with Klara and the psychologist: ‘I mean, I’m sure I’m right. Of course I’m right. I have to call his wife and say. He cannot have my son. The son must be in kindergarten and I have to protect him.’ So this is what it is. It’s about a Witch Hunt, a film about smoke without fire and how dangerous that can be.

Q to Thomas: What’s it like being back from your journey since your last time at Cannes with a film?

Thomas: Well, first of all I was always here. You guys were gone for a while but I was here and I’m proud of what I did meanwhile. Back then I had a bit of trouble seeing that ‘Feston’ (1998) was a completion of something. I felt I made the ultimate film in a certain direction. I went down a route and I picked the fruit and there was no more fruit left on the tree so I had to abandon this way of filmmaking completely and search for other stuff. That became very adventurous and also painful at times but I created some of the films I’m most proud of in that period. After the smoke settled over the years I’ve returned to a kind of filmmaking which appears to me to be like the filmmaking I did back at film school with Thomas before ‘Feston’ before ‘Dogma’, trying to make a kind of pure filmmaking which I’m very glad to be back in now. So, that’s it.

Q to Thomas: Can you tell us how much you are joking when you say your country, Denmark, is a ‘dark and sinister country’. Can you tell us how you feel about Denmark?

Thomas: I love my country sincerely. I am staying in my country and I’m proud of the filmmaking in my country. I feel it’s forceful and powerful. I also belong to a tradition of dark tales. I guess not only Denmark, but in Scandinavia in general. I’ve always been attracted to dark tales. This is not an entire image of our country. This is a dark tale from our country, which is a shire with quite heavy people I’d say. I sometimes feel too comfortable in Danish society. It can be oppressively mediocre sometimes and very very small and I’m sometimes longing for fairytales from abroad but I guess this is where my most important stories come from.

Q to Thomas: How do you feel audiences from abroad will reaction do you expect particularly from the subject to your film?

Thomas: Honestly, I have absolutely no idea. I don’t know how universal this subject matter is, but for me the main attraction of this film when I watch it while writing it with Tobias, is the love between these people. It’s not the subject matter it’s the loving and caring between these people. When I watch Mads and Thomas in front of each other trying to reach out to each other with this misunderstanding between each other, that’s where my heart breaks and I guess they must have that in Asia too. So, for me, I don’t know, let’s see. I hope we can cross these boundaries as well.

Q to Thomas: The film is in main competition with a strong line of directors. How do you feel abut this?

Thomas: I have great respect for all of them. I haven’t seen their movies and I’m trying not to participate in this kind of football game. I’m really proud to be in their company. The mission for me is already completed by being here. This festival for me is the only festival in the world that protects the small and pure and personal film and yet has the same strong amount of glamour around it. It’s such a powerful place. It’s such an important place and that’s why I’m so proud to be here. Of course we’re part of the competition, of course I’d love to bring back some gold but I truly and dearly feel that the mission is completed already.

Source: Filmfestivals

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PostSubject: Re: Jagten / The Hunt   Mon Oct 01, 2012 3:26 am

I've looked for the release date for The Hunt, but it's next year in March. Such a long time till then. Sad

Country Date
France 20 May 2012(Cannes Film Festival)
Czech Republic1 July 2012 (Karlovy Vary Film Festival)
France 5 July 2012(Paris Cinéma)
New Zealand 26 July 2012 (New Zealand International Film Festival)
UK11 October 2012 (London Film Festival)
Netherlands 24 October 2012 (Leiden International Film Festival)
Belgium14 November 2012
France 14 November 2012
Russia15 November 2012
UK30 November 2012
Denmark10 January 2013
Portugal10 January 2013
Norway1 February 2013
Sweden 1 February 2013
Iceland 8 March 2013
Germany 28 March 2013

Source: imdb

I wonder, why the film is shown later in Denmark than in other countries. That's stupid. I mean for Germany they must make a synchronization, but that's not necessary for Denmark.

What do you mean: Will BiF visit the London Film Festival and watch "The Hunt"?

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PostSubject: Re: Jagten / The Hunt   Fri Oct 05, 2012 1:38 am

Who knows. I would like to know why there are 4 months between different countries. Thats a very long time.
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