★★★★ / ★★★★
Christian (William Jøhnk Nielsen) had recently lost his mother from cancer. Due to his father’s work (Ulrich Thomsen), he was forced to change schools and live in another country. On his first day, he noticed buck-toothed Elias (Markus Rygaard), nicknamed Rat Face, being bullied by other kids. Christian was naturally drawn to Elias because the two shared a commonality: loneliness. Christian was still mourning his mother and Elias’ inability to express his sadness due to his parents’ (Mikael Persbrandt, Trine Dyrholm) recent separation. Based on the screenplay by Anders Thomas Jensen, “Hævnen” had something important to say about violence and its role in our lives. It started as a story of bullying. I immediately identified with the two boys when they felt they had to strike back so they wouldn’t be harmed anymore. In a way, I agreed with their course of action. I felt anger for the duo when the adults suggested that the best solution was to sweep the problem under the rug and just walk away. It was as if they had forgotten how cruel certain kids could be like. In my experience, bullies don’t simply allow their victims to walk away because they find satisfaction in scaring or hurting someone. It makes them feel like they’re in control. To let go of that control is like forcing to break a habit. And we all know how difficult it is to break what we’re accustomed to. But the film challenged my stance somewhere in between. Instead of focusing on the schoolyard, it brought up questions concerning violence and its consequences out there in the world whether it be a small altercation between adults or something as important as two groups of people out to hurt and kill each other because they differ in religion. It was more difficult to classify where I stood. All the performances were equally fascinating. Persbrandt was wonderful as a father who strived to be a good example for his children. He took a potentially weak character, considering he was the least violent of them all, into someone who knew what it meant to be a father and a man. Nielsen and Rygaard complemented each other’s acting styles yet they knew how to internalize and let go at the just right moments. Having a great chemistry was crucial because their characters’ friendship was tested in physical, emotional, and psychological levels. By the end, the strength of their friendship felt familiar. It reminded me of what I had outside of the film. “In a Better World,” elegantly directed by Susanne Bier, brought up complex questions but it offered no solution, just possibilities. It didn’t need to because each circumstance was uniquely shaped. Despite the sadness that plagued the characters’ lives, I choose to see it as an uplifting story. One can infer that we have the capacity to control our inner turmoils. If we don’t have that ability now, no matter, we can learn by checking in with ourselves once in a while. It then becomes our responsibility to pass that on to future generations.
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