Open Hearts is far from inaccessible, but it demands a higher level of concentration than most big-budget movies do. The drama exists in a glance or a nod, or in a slight hesitation in speech.
Open Hearts (2003)
Tomatometer
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Reviews Counted:55
Fresh:53
Rotten:2
Average Rating:7.6/10
Consensus: Pulsing with honesty, this film lays bare the rawness of human emotion with a story made all the more believable thanks to its gritty, low-budget approach.
Runtime: 1 hr 54 mins
Genre: Foreign Films
Synopsis: In Susanne Bier's achingly tender drama, filmed according to the tenets of the Dogme 95 collective, the fates of two couples are forever altered in the blink of an eye. Joachim (Nicolaj Lie Kaas)... In Susanne Bier's achingly tender drama, filmed according to the tenets of the Dogme 95 collective, the fates of two couples are forever altered in the blink of an eye. Joachim (Nicolaj Lie Kaas) and Cecilie (Sonja Ricther) are a young couple on the verge of marriage. But before they can make it official, a car hits Joachim, leaving him paralyzed. It turns out the driver of the car, Marie (Paprika Steen), is the wife of Niels (Mads Mikkelsen), a doctor at the local hospital. Niels offers Cecilie a shoulder to cry on, and when a tormented Joachim sends her away, she takes Niels up on his offer. What begins as a harmless connection between two strangers quickly turns into something else, as Niels finds himself falling in love with Cecilie. Gradually, Marie begins to sense something is amiss, until the truth finally comes out, destroying their relationship in the process. A sudden change of heart from Joachim forces Cecilie to decide which man she wants to spend her life with. Like the most successful Dogme films (FESTEN, MIFUNE), Bier boldly mixes a melodramatic storyline with a documentary-like visual approach to create a work that is deeply affecting, and wholly believable. [More]
Starring: Sonja Richter, Nicolaj Lie Kaas, Mads Mikkelsen, Paprika Steen
Starring: Sonja Richter, Nicolaj Lie Kaas, Mads Mikkelsen, Paprika Steen, Stine Bjerregaard, Birthe Neumann
Director: Susanne Bier
Director: Susanne Bier
Screenwriter: Susanne Bier
Producer: Vibeke Windelov
Screenwriter: Anders Thomas Jensen
Producer: Jonas Frederiksen
Studio: Newmarket Films
Reviews for Open Hearts
Director Susanne Bier and co-writer Anders Thomas Jensen draw attention away from the famous Dogme gimmick... and pull us into a surprisingly powerful emotional snafu.
What Open Hearts does best is capture the raw, frank essence of hurt.
There is no doubting the heart-rending impact of the story. But because it is made clear from the start that there is no chance of an uplifting ending, viewers may grow restless.
the ardent, unguarded performances that drive Open Hearts...have a resonant accumulative tone of authentic poignancy that drowns out the picture's shortcomings.
Simply deliciously top-heavy with pain, bitterness, release, and fervor --- and pregnant with unabashed authenticity.
Open Hearts' four lead characters (subtly, wonderfully played) shatter, then piece themselves back together before our eyes.
Open Hearts is a heart-wrenching soap opera that even The Young and the Restless can't compete with.
The synopsis sounds melodramatic (which it is), but it's also funny, sweet, and surprisingly engaging.
It crackles with chemistry that feels both spontaneous and carefully layered, and, like the best Dogma entries, it takes a potentially sudsy premise and lays it bare until all that's left is the humanity.
An emotionally honest character piece that avoids moralizing or offering soggy excuses.
Biers crafts her familiar story with equal doses of austerity and sympathy.
A picture of lovely simplicity and directness that reveals something of the complexity of the human heart with marvelous understatement.
As the characters' hearts are buffeted by fate, resilient and changeable and raw as they are, we take an enormous interest in how they end up.
Your wife ran over a guy, made him a paraplegic and now you're sleeping with his fiancee. You got a problem with that?
Open Hearts, like all good melodramas, is ruthless in its insistence that people are dragged, uncomprehending, in the wake of events.
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