I recently reviewed Rajko Grlić’s The Constitution, the gala screening that launched the 12th annual South East European Film Festival, writing that the Croatia-set movie “reminded me of the joy of discovering those ‘foreign’ films by Luis Bunuel, Francois Truffaut, Ingmar Bergman, Jean-Luc Godard, et al, at an arthouse that transported us beyond Hollywood glitz and glamour to a more ‘sophisticated’ cinematic view of the world beyond our shores.” I also felt this way after seeing Danish director/co-writer Thomas Vinterberg’s Copenhagen-set The Commune (Kollektivet) - although it’s not nearly as good or as much fun as the all-too-human The Constitution.
Scandinavian cinema is a sub-set of the foreign film phenomenon. On the one hand, you have the philosophical introspection into the human condition of Bergman, his fellow Swede Victor Sjöström and Denmark-born Carl Theodor Dreyer, who confront the void and ask: “What’s it all about, anyway?”
