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Filme online schauen auf TVNOW. Finde jetzt auf TVNOW Lieblingsfilme aus deiner Kindheit, Film Klassiker oder entdecke aus einer großen Auswahl an Filmen. Die Suche nach den neuen und alten russischen Filmen online hat ein Ende! Auf jonkoping-filmfestival.se finden Sie fast jeden Tag neue und alte russische. In beiden Filmen avanciert Dschingis Khan zum russisch-eurasischen Nationalhelden. Dahinter [online] jonkoping-filmfestival.se [Zugriff. Die Filme Bumer4 () und Bumer-2 () von Petr Buslov auf der einen Seite Zeitschrift ist online abrufbar unter http:// jonkoping-filmfestival.se und. Film-Archiv. Filme, Stars und News suchen und finden im Filmarchiv von CINEMA Online. Filter. Genre: Abenteuer · Action · Animation · Doku · Drama · Erotik.
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It's not until she's faced with the possibility of the affair being revealed that we see who Anne truly is - a heartless and cruel exploiter, incapable of seeing that she is perpetrating a similar kind of abuse as that suffered by her clients.
Another important element is the gender paradigm. As mentioned, we're initially encouraged to empathise with Anne and approve of what she's doing.
After all, she's a hardworking, decent woman whose marriage has lost its spark, so who could deny her a little bit of illicit fun?
But would we think the same were the genders reversed - how would we react to the story of a fortysomething man seducing a year-old girl?
With this in mind, el-Toukhy interrogates our morality, by 'tricking' us into condoning Anne's actions and later asking how we could ever have done so - gender, she suggests, is irrelevant in cases of abuse, and the fact that we give a woman a pass to behave in this manner when we would crucify a man for doing the same thing is part of the film's complex thematic texture.
In terms of acting, this is some of Dyrholm's best work which is saying a lot considering her extraordinary CV.
Initially playing Anne as strong-willed and inherently decent, once Gustav arrives on the scene, Dyrholm loosens up, carrying herself differently, and displaying a different kind of confidence than we've seen thus far - a more personalised confidence, one that has to do with her sense of self rather than her professionalism.
Later, when she faces the possibility that Peter could learn of the affair and that her comfortable middle-class life could be jeopardised, she shuts herself down, becoming void of emotion and interiority, as she transitions from protagonist to antagonist.
Throughout all this, Dyrholm never lets us forget that Anne is very much a flawed human, but so too does she wholly commit to playing Anne's darker qualities; when the wheel turns, Dyrholm makes sure that we come to despise Anne.
Working opposite such a powerhouse performer can't have been easy for the year-old Lindh, who's only been acting professionally since , but he holds his own admirably.
And much as Dyrholm creates a fascinating arc for Anne, so too with Lindh, who plays Gustav with an exceptional visceral quality, his emotions always on the surface.
His arc is essentially the inverse of Anne's - whereas she's introduced as the protagonist, someone with whom we're encouraged to identify, yet she later becomes a monster, he's introduced as an unlikable, petulant, and moody brat, yet he evolves to the point where he becomes the emotional fulcrum of the final act.
As Peter, Krepper has a lot less to do than his co-stars, but he does it well, never putting a foot wrong. He plays Peter as decent and loving, but not especially warm or attentive.
Sex between him and Anne is a rarity, and even when they do have sex, it's vanilla and rote. However, these are his most significant crimes; if Anne and Gustav represent the emotional centre of the film at different points, Peter is the moral centre throughout.
Looking at issues of gender inequality in relation to sexual trauma and abuse, Dronningen is a story of how a woman can be a predator just as easily as a man.
Indeed, the film reminds us that gender is irrelevant when considering the pain caused by such predation. Ultimately, Gustav is no different from the clients who Anne represents, but whereas she is shown to be remarkably protective of them, when Anne finds herself in the role of the perpetrator, her treatment of Gustav is as reprehensible as anything done to her female clients by their male abusers.
This is tricky and emotionally complex territory, and Dronningen is never anything less than thematically fascinating. It's by no means an easy watch, but it is an exceptional piece of filmmaking.
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Alternate Versions. Rate This. A successful lawyer jeopardizes her career and threatens to tear her family apart after engaging in an affair with her teenage stepson.
Director: May el-Toukhy. But opting out of some of these cookies may have an effect on your browsing experience. Necessary cookies are absolutely essential for the website to function properly.
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