As various older people were dying off amid budding connections and possible romance, I began thinking this might be Denmark's answer to Four Weddings and a Funeral, with what would end up a different number of both events.
There is certainly sweetness and humor to be found here, as well as a reminder that kindness is what counts in this too-painful world, a combination I invariably fall for. There are several characters who've lost their way on that front, including the elder Reverend who gets told off for his cynicism in one of the film's dramatic scenes, but mostly it's about being gentle and patient enough with those around us, as embodied by the younger pastor, who was a fantastic character (Anders W. Berthelsen).
As for the love connections, they feel organic and lovely, but two of the three matches didn't completely resonate: the hairdresser and the loudmouth (he's too much of a jerk), and the dorky Jørgen Mortensen and the beautiful Italian women who's ten years younger (they just didn't seem like a match, nor could they communicate with one another). The pairing of the pastor with the klutzy woman, him having recently lost his schizophrenic wife, and her having lived under a verbally abusive father, was wonderful though.
Lone Scherfig directed the film in the style of the Dogme 95 Manifesto, meaning very naturally - handheld camera, natural sound and light, etc - most of which works well, and is in keeping with the unpolished tone of the story. The beautiful city of Venice makes an appearance with about ten minutes left, but it's shot quietly, with little fanfare. In fact, the one shot on the promenade simply sets up a funny moment where a tourist helps out by taking a couple of group photos, but does so very badly.
All in all, not perfect, but charming, especially if you like the feel of indie films.
There is certainly sweetness and humor to be found here, as well as a reminder that kindness is what counts in this too-painful world, a combination I invariably fall for. There are several characters who've lost their way on that front, including the elder Reverend who gets told off for his cynicism in one of the film's dramatic scenes, but mostly it's about being gentle and patient enough with those around us, as embodied by the younger pastor, who was a fantastic character (Anders W. Berthelsen).
As for the love connections, they feel organic and lovely, but two of the three matches didn't completely resonate: the hairdresser and the loudmouth (he's too much of a jerk), and the dorky Jørgen Mortensen and the beautiful Italian women who's ten years younger (they just didn't seem like a match, nor could they communicate with one another). The pairing of the pastor with the klutzy woman, him having recently lost his schizophrenic wife, and her having lived under a verbally abusive father, was wonderful though.
Lone Scherfig directed the film in the style of the Dogme 95 Manifesto, meaning very naturally - handheld camera, natural sound and light, etc - most of which works well, and is in keeping with the unpolished tone of the story. The beautiful city of Venice makes an appearance with about ten minutes left, but it's shot quietly, with little fanfare. In fact, the one shot on the promenade simply sets up a funny moment where a tourist helps out by taking a couple of group photos, but does so very badly.
All in all, not perfect, but charming, especially if you like the feel of indie films.