When the Future Changes, What Comes Next?

Read Time:4 Minute, 57 Second

MOVIE REVIEW
Beginnings (Begyndelser)
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Genre: Drama
Year Released: 2025
Runtime: 1h 40m
Director(s): Jeanette Nordahl
Writer(s): Rasmus Birch, Jeanette Nordahl
Cast: Trine Dyrholm, David Dencik, Johanne Louise Schmidt, Bjørk Storm Engelshardt Kirkegaard, Luna Fuglsang Svelmøe
Where To Watch: shown at the 2025 Berlin International Film Festival

RAVING REVIEW: This film becomes something more by immersing the audience in life's quiet, inescapable moments. BEGINNINGS thrives on its ability to capture the unspoken tensions, the weight of regret, and the persistence of love in unexpected places. With director Jeanette Nordahl, who understands the power of restraint and leads performances that bring nuance to every scene, it crafts a deeply human story that lingers well beyond its final moments.

Ane (Trine Dyrholm) and Thomas (David Dencik) are at the heart of the film, a couple on the verge of finalizing their divorce when an unforeseen medical crisis upends their plans. Ane's sudden health issue forces them to remain together longer than expected, delaying their decision to tell their daughters, Clara (Bjørk Storm Engelshardt Kirkegaard) and Marie (Luna Fuglsang Svelmøe), about the separation. As they navigate an already fragile relationship, they must also confront an uncertain future neither of them was prepared for. What follows is a story of hardship and an exploration of adaptability—how people are forced to redefine love, responsibility, and self-identity when life refuses to adhere to expectations.

Direction plays a vital role in making this story resonate. Rather than relying on melodrama or exaggerated emotion, Nordahl adopts a naturalistic style, allowing feelings to simmer beneath the surface. The storytelling never forces sentimentality; instead, it lets the weight of everyday struggles unfold with honesty. The script, co-written by Rasmus Birch and Nordahl, is rich with authenticity, making the characters feel less like constructs of fiction and more like individuals with lived experiences. The dialogue flows effortlessly, and moments of silence often carry just as much weight as spoken exchanges.

Performance is everything in a film like this, and the leads bring remarkable depth to their roles. Dyrholm delivers a raw and deeply felt performance as Ane, capturing the frustration, resilience, and quiet determination of someone grappling with the sudden loss of control over their own life. Opposite her, Dencik finds the perfect balance between duty and emotional distance, portraying Thomas as a man struggling with a sense of obligation that clashes with his desires. Their dynamic is charged with tension and familiarity, making every interaction feel layered and lived-in.

Visually, the film adopts a subdued aesthetic that mirrors its introspective tone. Cinematographer Shadi Chabaan effectively uses tight framing, pulling the audience into the characters’ confined world. The muted color palette echoes the emotional weight of their situation while carefully composed shots emphasize the unspoken distance between them. The camera lingers on gestures, turning even the smallest moments into storytelling tools. Nathan Larson's score is equally restrained, never overpowering but subtly guiding the film’s emotional rhythm.

Beyond the central relationship, the film offers a quiet commentary on how illness reshapes relationships, not just between partners but within families as a whole. Interactions with their daughters, Clara and Marie, Thomas’s new romantic interest, and Ane’s close friend, Stine (Johanne Louise Schmidt), add to the narrative, revealing the far-reaching effects of a single event. However, these supporting characters could have been given more space to develop. While the core duo remains the focus, expanding the perspectives of those around them could have added further depth to the film’s exploration of change and resilience.

Another area where the film could have taken more risks is its structure. The linear progression serves the story well, keeping the emotion grounded. However, incorporating non-linear elements—such as glimpses into Ane and Thomas’s past—might have provided even greater emotional weight. Comparing how their relationship evolved with its current state could have strengthened the impact of their struggles and made their journey even more compelling.

Production design plays an understated yet crucial role in reinforcing the film’s themes. The home setting feels both comforting and suffocating, serving as a visual representation of Ane and Thomas’s shared history and unspoken conflicts. As the film progresses, changes in the space reflect shifts in their relationship, with small details—like rearranged furniture or personal objects left untouched—subtly marking the passage of time.

The film succeeds because it refuses to over-explain or manipulate emotions. It doesn’t tell the audience what to feel; it presents a deeply human experience and allows emotions to unfold naturally. The result is a story that lingers, not because it demands attention, but because it captures something undeniably real.

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[photo courtesy of HOBAB & LEMMING FILM, LEMMING FILM BELGIË, SNOWGLOBE FILMS]

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