DMonster traffic jams clog the streets of Copenhagen. Huge liners loaded with men set out to attack the Baltic Sea. Individuals try to escape on foot across land borders, others squeeze onto makeshift boats. In a few months, 6 million Danes left, forced by the government, incapable of stopping the rising waters, to evacuate a Denmark that they would never see again.
This is the extravagant idea of the first series written and directed by Thomas Vinterberg – founder thirty years ago, with Lars von Trier, of the Dogme 95 movement and director of the formidable The party, The Hunt et Drunk –: completely empty a country, your own, of its inhabitants.
And we are struck, from the first episode, by the inverted mirror that the filmmaker holds up to us. These people who suddenly lose everything, are separated from their family and friends, are at the mercy of smugglers and then forced, in the countries where they go into exile, to accept menial jobs in order to survive, are white Europeans. , educated, having for the most part lived in opulence: never, doubtless, had we dared to reverse the question of migration in this way.
Caught up with reality
We are also greatly disturbed by the images of deserted Copenhagen, by this silence, this great wind rushing along the empty avenues, this atmosphere of the end of the world. These are the real ones of the 2020 confinement that the director integrated – it was not […] Read more
