John C. Reilly and Johnny Flynn in Dara Van Dusen’s A PRAYER FOR THE DYING. Image provided by Fantastic Fest. Courtesy of Quiver Distribution.
Directed by Dara Van Dusen – Screenplay by Dara Van Dusen.
Following its world premiere at this year’s Berlinale, the western-adjacent drama, A Prayer for the Dying, from debut feature filmmaker Dara Van Dusen, just had its North American premiere at Fantastic Fest 2026. As part of my remote coverage of the latter festival, I got the opportunity to watch this ambitious debut. Dusen’s Western-adjacent debut, which is being prepared for a post-festival US theatrical release on October 9th, contains fascinating surreal imagery, pitch-black dark character predicaments, and a challenging role for its competent leading man. Although it has some blemishes, I thought it was mostly quite effective.
Mads Mikkelsen as Ludvig Kahlen, an impoverished soldier who desires nobility, in BASTARDEN // THE PROMISED LAND — PHOTO: Henrik Ohsten / Zentropa / Nordisk Film.
Directed by Nikolaj Arcel — Screenplay by Nikolaj Arcel and Anders Thomas Jensen (Retfærdighedens Ryttere).
Titles can be tricky. Titles are obviously an essential part of marketing as they clue audiences in on what they can expect to see. A poster can be manipulated. A trailer can be manipulated. But more often than not titles mean something to the creatives who worked on the film. Then, of course, there are International titles. In the case of this Danish historical epic, its original title is Bastarden, which literally means ‘The Bastard,’ but it is known internationally as The Promised Land. Frankly, both titles feel accurate. Then, of course, there is the title of the source material, which is a Danish historical novel from Ida Jessen titled The Captain and Ann Babara (originally Kaptajnen og Ann Barbara in Danish). Internationally, distributors went with The Promised Land, which I honestly think is a bit of a mistake as it is such a generic title that has been used over and over again. Now, The Bastard isn’t exactly completely original. Still, it feels less conventional and speaks to its two principal opponents, a person born out of wedlock and his despicable antagonist. Regardless of which title you find it under, this Danish epic is one that I highly recommend, as it features strong performances, gorgeous photography, and a fair bit of violence which keeps this period piece from ever feeling stuffy.
‘Retfærdighedens Ryttere / Riders of Justice,’ Promotional Still Image — Photo by Rolf Konow — Nordisk Film.
Directed by Anders Thomas Jensen — Screenplay by Anders Thomas Jensen.
It is quite extraordinary that in a year like 2020, which has seen a global pandemic severely damage the film industry and movie theaters all around the world, somehow the Danish film industry has thrived. This year has produced several event films, so to speak, in my home country. It all began with Mikkel Nørgaard’s Klovn: The Final, which is a continuation of arguably Denmark’s most popular comedy series of the last two decades. Then, not too long ago, Thomas Vinterberg’s near-masterpiece Druk was released to rave reviews, and it has almost single-handedly revived Danish movie theaters. Now, this week, Anders Thomas Jensen’s black comedy Retfærdighedens Ryttere has been released in Denmark. It is strange to say this, but, in spite of the COVID-19 pandemic, this has been a remarkably strong year for the Danish film industry. Continue reading “REVIEW: Retfærdighedens Ryttere (2020)”→
The following is a review of the Danish film ‘Dronningen‘ (international title: Queen of Hearts) — Directed by May el-Toukhy.
Dronningen is a disturbing and twisted tragedy about double-standards, hypocrisy, and gender-roles from the female Danish-Egyptian filmmaker May el-Toukhy. The Danish film — and controversial conversation starter — stars the outstanding actress and critical darling Trine Dyrholm in the leading role as Anne, a Danish lawyer and mother of two girls. Anne is married to the Swedish doctor Peter (played by Magnus Krepper, who recently appeared in the Danish film Før Frosten), who has a 17-year old troublemaking son, Gustav (played by Gustav Lindh), from a previous marriage in Sweden.
