SnoReptilePlenty Memorable, crazy movie

Freaktana A Major Disappointment

Livestonth I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

Geraldine The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

maurice yacowar The film is set in 1970s Denmark, when idealists launched communes as a love-loving, open counterweight to the conflicts of and over the Vietnam war. Today the film reflects upon the challenge that human emotions and relationships bring to any theory of social planning. Though set in the 70s it's clearly about the post-commune age of today as well. However strong the spirit or idea, the flesh, the human reality, may well prove too weak to sustain it. Write in your own contemporary context. The commune spirit is personified by Anna. She has the idea of turning her husband Erik's inherited family estate into a commune so they and their teenage daughter Freja can afford to live there. Erik is an architect, a builder, though his professional career still requires him to teach. Anna is a well-known TV news presenter, an observer not a maker of news or structures. In inviting family friend Ole to join she launches the commune over her husband's concerns. Anna most visibly enjoys the spirited life in the commune. The observer's venture into building seems at first to work. But despite all that new idealism, the old male privilege persists. Erik may extravagantly deny being any "boss" and he signs over his ownership of the estate to the commune. But in the crunch he asserts his authority to admit his new mistress to the commune, at whatever pain to Anna. In her idealism Anna suggested his Emma move in, but her emotion at her loss of Erik and her sense of her own fading beside her young successor defeat her resolve. The modern sophisticated commune proves essentially tribal when its founder Anna has to move out to allow Erik's peaceful life with Emma. Men are so privileged that even the little boy with the heart condition uses his weakness ("I'm going to die before I'm nine") to hustle women. Including Emma, at first sight: "You want to shag?" His heart finally gives out when his more practical romantic chance, Freja, brings her boyfriend to dinner. In her New Age womanhood Anna tries to accept her husband's affair with the pretty third- year (i.e., really young) student. She even treats her rival warmly. But her valiant effort can't stand up to her emotional needs. She crumbles on air, then shatters the dinner table peace when she declares her own emotional needs. Erik's more violent emotional eruptions are excused but not Anna's. The temperamental male here even gets to faint! Anna is fired for her first freeze. Fired, humiliated, shattered, she luckily has her daughter's trust and confidence — which empowers her to move out of her idealized construction and take on the real world on her own. How she will fare we don't know, because the film opts for the happy ending of the commune, carrying on without her. But there's still another scene. Daughter Freja leaves the family to go to her boyfriend. He's older but rather vacuous in looks, character, wit, manner, but he accepted her sexual initiative. In the last scene she finds him lying stoned at a party so she snuggles up. He offers her headphones to join his experience and doesn't hear her "I love you." Like her mother, Freja constructs an idealized, romanticized connection and invests herself in it, to her own peril and eventual cost. Like Freja later, Emma took the sexual initiative with her professor with the delusion she's empowered by submitting to the supposedly impressive male. She comes to his office disturbed at his humiliation of her male student friend. She even puts up with the prof's arrogant dismissal of her own project proposal. She needs to plumb her own emotional experience, the up-tight unproven architect insists. Claiming to detect a more sensitive inner guy, she invites his kiss.The 1970s setting allows for another ironic presence: the swarthy Allon, a broke, jobless, helpless loner, whose testiness at the admission interview provokes Erik's anger. By crying, Allon converts the commune's rejection to admission, even though he can't pay his share and seems incapable of making any significant contribution — until he magically produces the collective's desired dishwasher! No contemporary representation of a European society could omit the refugee factor. Allon is a vulnerable outsider, anticipating the Muslim refugee issue we recognize today in fuller form.

zoranov Less difficult to watch then The Hunt or Festen, Thomas Vinterberg's Kollektivet (The Commune) impresses with great cinematography and how successfully it seems to reconstruct the details of the sixties and seventies fashion in Copenhagen, Denmark. But at the same time, it fails to deliver a truly engaging story. It's an interesting story, it's an exotic story, but the situations presented are so unfamiliar for someone who hasn't even considered living in a commune that it simply makes the plot hard to relate to. The Danish director apparently grew in a commune, but that doesn't mean that the story is autobiographical. However, it is pretty obvious that such a subject couldn't be presented so convincingly by someone without the experience of living in a commune. European movies are more and more something of an alternative cinema treat and this movie is a quite a delight from that perspective. The alternative lifestyle of the protagonists is presented in such detail that it doesn't seem forced or artificial. Most of the characters have strong personalities, but these are kind of ignored, as the pace is too quick to stop for them. Ultimately, what truly sticks out in your memory hours even after watching the movie is a very sad love story. A story about allowing extreme changes to your lifestyle and then having to bear all the consequences, with all the associated happiness and tears. "Maybe this is what people use to do in the Northern parts of Europe, I don't know what to say" was the first reaction of someone in the audience that I overheard at the European Film Festival, after the Bucharest opening screening. I kind of agreed. It is quite difficult to relate to a movie about an extreme leftist commune from Denmark. However, if you like strange stories that show with great talent a historical time and place, then The Commune is something you might fully appreciate. Yes, the action could also take place in a more modern setting, as the world is full of communes. However, what really makes this movie watchable is the love invested in recreating the look & feel of a defunct 20th century decade as seen and felt in a Northern Europe capital by a truly talented and hard- working director.

Cinefill1 -Kollektivet (English: The Commune) is a Danish Swedish-Dutch movie from 2016 under the direction of Thomas Vinterberg. The film was on 17 February premiered at the International Film Festival of Berlin.--Story: -Denmark, 1970. Erik, a professor in architecture, inherits from his father an old large house in Hellerup, in the north of Copenhagen. Together with his wife Anna, a known newsreader on television, he takes up residence there. The boredom that occurred in their marriage is to go against, they decide to invite a few friends in the large house to live. As after for a while live a dozen women, men and children in the housing together. They live in a commune where everything is decided collectively. The balance that is so, threatens to be disturbed when Erik falls in love with his student Emma and the young woman also comes to live with them. Freja, the fourteen-year-old daughter of Erik and Anna observes the community and look for its own way with the events to go.

solefab-53302 The scenery in the commune is all about the fuzz. Lovely to watch a scenery from a 70's. Fine performances by the whole crew of actors.First, the line of story has some really weak spots. The turnaround of Anna, she persuades Erik in not selling the house and start a commune with some friends. Erik feels overlooked ONE time by her wife at a joyful dinner party. Minutes later he has found relief in a student of his which becomes his second girlfriend. Anna openly accepts it in a awkward scene between Erik and Anna. Ulrich Thomsen is just one of the most awkward people to portrait the life of a couple. I didn't know whether to laugh or not. Why does Anna turn from being a the main fire of the whole commune-thing into a deep crisis? It doesn't make sense, from what we know.The woman is a very good looking and successful news host in television. She has a largely part of the Danish population of men to adore her. To me, that makes the story unreliable. The movie could have been a lot more interesting, if she went with the flow and found her own sexual way of dealing with her challenge. It doesn't make sense that she is the one who crashes and become the victim of her own free spirit. You could tell the exact same story in 2016-settings. So why use a 70s commune setting if you won't use and exploit the unique spirit of open sexual relationships? The Commune would have been a great pitch for a TV-show, likewise 'Arvingerne', 'Sommer' and so on. 10 episodes. Let's get deeper into the different characters, when the movie doesn't the have time. Why does Allon cry all the time? Why does Ole always burn other peoples stuff? Why does Mona lay with so many men? Why is Steffen so co-dependent? And let's see more about the development of the teen-years of Freja.Instead, the movie which is a love story between three people, it fails as a comedy in a commune in the lustful 70's.Indeed, Trine Dyrholm plays the role very authentically. I don't know if it is the luck of Thomas Vinterberg or maybe the movie would have been complete different without her going in destruction.Again, would have been a great episode in a TV-show. But fails as a movie.