If you want to experience ur-Lars Norén, then it’s his marriage drama Demons, one has to seek out.
At the time of the mid-1980s, it was shaking and both a cynical portrait of marriage and the beginning of Norén’s never ended the show with the Swedish people’s home that ended in the fact that well-established, almost middle-aged people like Frank and Karina can not find Secondly, with their privileged life than buying designer chairs for $ 45,000 you can not sit in and drink animal whiskey and gin of the bottle while passionately hating each other to keep the passion floating in marriage.
Although it has been cleaned up in some of the most 1980s-embossed in the East Gasworks edition of Demons, it is not free to have an echo of the votes of yesterday. With his bold Freudian symbolism, where Frank has her mother’s ashes standing in the living room, she must be buried the day after where Frank’s homosexual feelings are related to the set but equally dysfunctional couple downstairs, which Frank and Karina invite to drinks in It was summer night to get some gas for their marriage, but also to have an audience for their own erotic, flaming game. Some extras that can be withdrawn and rejected as desired and the evening’s dramaturgy.
Karen-Lise Mynster has four excellent actors at his disposal in Demons. As the evening progresses, they enter into a scene that gives them greater opportunities to show their strength. Nevertheless, I feel that it could have been more freezing evil. More raw, cruel. They all have four potential, but it will be a long evening at last, and with some soundtracks that will almost post the subtitle and the symbolism.
It is Peter Oliver Hansen and Camilla Bendix, who will be picked up for this evening’s marital freak show. The urmoder, who is a little tired of wearing the burdens of the world without knocking, soft, bumpy and so adorable hot that you as an adult may want to get in to her. Ready to be used roughly, is her softness not the most compassionate? Her Thomas has a little desperado inside, played warmly by Karina’s eagerness, confusingly flirting with him who nurtures the almost middle-aged family father’s claustrophobic fear that the youth is already over. Lived alive with hoodie and patterned T-shirt, challenged by a daily life with baby alarms, Wolfgang’s cousin and children’s TV.
But upstairs, the beautiful, beautifully furnished apartment lives in the cozy, lovely couple. No children. Lots of money. Far too much time to fight and fight both for and not least against the love they feel deeply.
Annette is amazing in the role of the intellectually sharp Karina, who holds a far more subdued urban tone than her husband, but underneath it, in the underneath of the tone lies cruelty hidden. Lars Mikkelsen glides wonderfully unpredictably and unpredictably between the flirt, the perfectionist businessman, the revenge, the superior host and the husband and the boy, who has an inexhaustible need for care and is so unhappy that he can not even speak properly. He is unmatched in his life, behind the well-being suit, the fragrant perfume and the perfume replies. And in the almost happy ending, everything is open between the two. Everything.