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Simply A Masterpiece

Good story, Not enough for a whole film

After playing with our expectations, this turns out to be a very different sort of film.

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

"Pusher" is a raw experience. Its strongest points are its writing and acting, and these two elements of film constitute the absolute basics of a standard narrative-driven piece. These are the elements central to theatre, yet cinema has the option of expanding these aspects into a unique space, wherein editing and cinematography also serve as crucial components. "Pusher" focuses most of its attention on the writing and acting, but doesn't neglect the cinematic aspects of its presentation. Hence, the result is a film that feels well suited to its medium. The narrative is centred on events surrounding a drug pusher, and the struggles he faces after a drug run goes bust. Unlike most crime films, the narrative is not centred on the plot. Instead, it is focused on the main character and the relationship between him and the other characters of the story. A prominent theme is the mingling of friendships with business partnerships, and as the film plays out and the main character finds himself under increasing stress, we witness the business side of his relationships cutting into the intimate side, and the result is erosion. His relationships - extensions of himself - are eroded and sacrificed as the story plays out, and as a result our character becomes more and more of a volatile husk as we progress towards the conclusion. When he is finally faced with the drug lord he's been desperately trying to appease, we witness almost physical erosion, as he hands over physical possessions of his with no resistance whatsoever - his relationships have been worn away until we are left with the man itself, and he is thus eroded to such a point that he has become a lesser presence. However, this transaction still fails, and we witness what seems to be the end result of his erosion: a reduction to nothingness - a blank slate. When it seems our character must flee the country, he gravitates toward the only supporting character who seems to be in the same state as he is, as though the erased are assimilated into one group, devoid of the individuality they once possessed. When considering where to flee, their choice is based on whim - they have no ties, and are free to reinvent themselves. This notion is further reinforced when it seems our main character may still be able to redeem the last professional relationship he clung onto, and he rejects his partner - he has no need to belong to the erased, as she does. The film's stark yet powerful writing is reinforced by acting that never strays over into melodrama - the characters maintain a strong sense of realism, which is combined by their presence within the script - well written dialogue ensures that every character feels like a unique individual, without a necessity to appear wacky or colourful. The subtle and insightful writing is paired with a raw aesthetic that evokes the DIY mindset of the Punk aesthetic. Camera work is entirely hand-held, and not graceful in any regard - instead, it appears immediate and essential, as though a documentary were being filmed. The only drawback of the film's hyper-realistic style is its insistence on filming only with natural light - while this does ensure the film retains a credible grittiness to its image, it also means many scenes throughout the film are doused almost completely in shadow, and the frames are left entirely opaque to the viewer; there's no point aiming for as genuine a presentation as possible if nothing can be seen anyway. At certain points during the film, there appear to be attempts at stylisation. A couple of these attempts seem like interjections into the film's uncompromising and grainy style, but fortunately these points are not desperate or obnoxious in any way. For the most part, they add little to the film, although the film's final scene, where our character seems left to accept a grim future, manages to evoke a beautiful sense of style that seems wholly appropriate. The ending is, perhaps, the most unsure part of the film. It is hard to discern whether or not it is to the film's detriment - the preeminent theme of interpersonal erosion seems to be hacked off, yet at the same time an ending depicting the two characters driving off to a future in Spain would seem uncharacteristically optimistic. Overall, "Pusher" is a fantastic film - although most of the plot involves a man attempting to solve his debts, it is done in a masterful way that seems entirely dedicated to the work itself, and not the individual mind of any artist behind its creation.

Here in the Nordic Europe, we don't use so much physical violence and guns like in USA. We use psychological terror instead. That's why this movie is scary, but not so explicitly violent.The fear and terror that Frank experiences comes from being a small time drug dealer and owing his money to the big, but low-life drug supplier. The way the drug supplier goes after Frank with the collectors is a psychological game that Frank cannot get out of. There is also the element that they used to be "friends" and they turn on each other with hate.The scene where Frank and Radovan seeks out a poor druggie and he gets so scared that he shoots himself with a shotgun is very sad. It shows how these criminals use mental terror to scare their victims.Well, it's meant to be a crime movie. The movie is a bit over the top, but it has a point.

Nicolas Winding Refn's directorial debut is an engaging, zero-budget story of crime and revenge, a thriller which sees a small-time drug dealer's life spiralling out of control when his latest deal goes bad. Shot on the streets of Denmark in a verite style by a director who already appears accomplished, PUSHER is a fine debut feature.There are certain influences in the film; with the recent release of Tarantino's PULP FICTION there had to be, but the style of PUSHER is all its own. Despite being relatively unknown at the time, the acting of the cast is very good; THE BRIDGE's Kim Bodnia and VALHALLA RISING's Mads Mikkelsen in particular play each other off very well. There's also a surprising level of originality in the script that keeps the viewer on his toes at all times; you've never quite sure of what exactly is going to happen next.PUSHER isn't a perfect film, and there are a few flaws that stopped me enjoying it totally. It lacks a single sympathetic character in the entire cast, and much of the dialogue is moronic and off-putting. It's also fairly dark and depressing, although I understand such style is all the rage these days. However, PUSHER overcomes such deficits by being one of the most realistic thrillers out there.

I am danish and I do not like this movie, well and that goes for most movies by Nikolas Refn winding.The lead character is boring. The dialog is often painfully constructed and knowing drug dealers in Copenhagen at that time in the 90' I can say they did not speak like that at all! The movie has its funny moments I most give it that but the story in general is just one stupid and not realistic moment after the other.How this movie got its fame is beyond my understanding What to fill out for the last line?? THere are thousands of better movies to watch so skip this one.Skip most of Nikolas Refn Windings movies they are overrated! SKip danish movies in general