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The Worst Film Ever

Don't Believe the Hype

Absolutely the worst movie.

If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

I watched this move without understanding all the conversations. But I guess the idea is transferred through the emotions. First of all, it is a good trial to analyze the concept of the "Community". I graduated from a boarding school, sometimes I miss the atmosphere of it, and I dream an utopic commune life, where people share and make life easier. The Director touches on ore intense and sad moments than happier moments. In this regard it is not an fantasy but more close to the reality. Often we encounter hard moments due to the new love affair of Eric, but nobody step back from the set up, in another word the Commune continues and people stay in it. In a family we can have sad and happy moments like sickness of the kids, even their loss, kids growing and having companions so in a Commune life. Maybe in a commune we can overcome more easily. The movie focuses of the emotions of a Woman, Anna, who loose her husband to a more younger woman., Emma. Anna accept Emma and approve her stay in the Commune, with some hard emotions later. Anna enters into deep depression, loses her job and finally loose the race and leave the house. It seems that it is Anna who loses this game.The movie concentrates on the emotions of Anna, and do not much delve into others lives apart from that of Eric, Anna and Emma. The movie could tell more about the benefits or the functioning of a Commune life.As a good trial to explore a hard topic, it deserves a watch.

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.

Kollektivet (original title) or The Commune (English title), the new movie from director Thomas Vinterberg (known for Festen - The Celebration - 1998, Submarine - 2010 and Jagten - The Hunt - 2013), one of the founders of the film movement Dogme 95, which seeks to create a more realistic and less commercial cinema, deals with a family in the 70s, formed by the father Erik (played by Ulrich Thomsen, known for Festen - The Celebration - 1998 and Adams æbler - Adam's Apples - 2005), the mother Anna (represented by Trine Dyrholm, known for Festen - The Celebration - 1998 and DeUsynlige - Troubled Water - 2008) and the daughter Freja (played by Martha Hansen). Erik inherits the house of his family after the death of his father, but considering it very large and with high maintenance costs he is willing to sell it. However, his wife convinces him to turn the house into a kind of community, inviting some friends and even interviewing strangers to share the house and to help pay the bills. Living in a group, like a big family, they have dinners, parties and regular meetings so that important matters are made democratically. But the utopia around this experiment begins to be questioned when a love affair shakes the small community.Kollektivet hits to portray very well the time when the story takes place: the 70s in Copenhagen. The production design, costumes and characters's characterization, expressed by the clothes, hair and costumes, confer credibility and immerse the viewer in the plot. But the film errs for not develop enough the characters that are not part of the central plot. The director should have further explored the group in conflict scenes and the writer could have better elaborated the difficulties of social life that are inherent to a life in a community. As it was written the supporting actors add little to the story and the parallel plot of Freja's journey into adulthood opposed to the reflection of everything that happens within the community deserved to be better developed.The big highlight is the actress Trine Dyrholm, who received the Silver Bear for Best Actress at the Berlin Film Festival this year for her excellent performance. The most dramatic scenes and the strongest blows that we took in the feature film are starred by her character, Anna, a television news presenter. The actress representation convinces not only because her ability to express emotions in times of joy or in the darkest moments, but by the naturalness of interpretation, which makes the viewer forget that it's just a role play.Convivial challenges can be overcome? To what extent a community project should override the individual interests? What is more important: the individual or the collective? Life in community is possible? These are some of the questions that The Commune tries to address, but ends up doing superficially. Director Thomas Vinterberg had talent to produce a film with a final result much better than he produced.Originally posted in: https://vikingbyheart.blogspot.com.br

Don't look at the synopsis because that's not what the movie is about. Prior to the movie I didn't know what a commune was. After the movie I still didn't know, I had to look it up. I love atmospheric movies with low-key stories. The fate of the world doesn't need to be in the balance in every movie. Kollektivet is about human feelings and relationships and nothing more. A film doesn't need conflict to be interesting. It can have a compelling narrative, or can give the viewer a look at a person or situation (like a documentary). Kollektivet doesn't offer much of conflict, doesn't offer much of narrative and only offers a slight look at life within the commune. Despite that is succeeds. The natural way the conversations take place alone makes it interesting. It all feels so very real. Everything about Kollektivet feels real. Because we only see a small part of everyone's life and struggles the movie doesn't succeed in being involving the viewer emotionally. At least not at the moment. But after the credits rolled it stuck in my head nonetheless. And there's only one single reason for that: just how natural it all is. It's so natural that I could just feel myself as a part of that commune. And that's what makes this movie so special, because it's so freaking atmospheric it's scary. The fact that the setting is in a "commune" in the 70's really doesn't matter that much. It could have been set anywhere and at any time. I simply don't know why the word "commune" is used as often in the movie as it is, as if it's so important. Because, at least in Kollektivet, it's simply about multiple people living in one big house like one big family. Threating that simple fact like it's such a special thing is weird to me. People live together all over the world. Anyway, like I said: it's all about human feelings and relations here.