Flame & Citron (Danish: Flammen & Citronen) is a 2008 Danish drama/action co-written and directed by Ole Christian Madsen. The film, a fictionalized account based on fact, is about two Danish resistance movement fighters nicknamed Flame and Citron, during the Nazi occupation of Denmark in World War II. The most expensive Danish film produced to that date, it was highly successful at the box office and won numerous awards

En Kærlighedshistorie aka Kira’s Reason: A Love Story (2001) dir. Ole Christian Madsen

I’m a huge fan of Lars Mikkelsen (The Killing’s Troels Hartmann) and I wanted to discover more of his work in Denmark and I happened upon this little gem. It’s extremely low budget and shot hand-held a la Dogme 95.

The film is a character study of a woman on the verge of a nervous breakdown. Kira (Stine Stengade) has recently left a mental institution and finds it difficult to reintegrate within society and is constantly paranoid about her husband, Mads (Lars Mikkelsen) activities whilst she has been away  - he fails to admit to his affair with her sister. Their relationship is one of pure passion and devotion to each; they give all their energy and still continually fail. 

Like Kira, the film is unpredictable and the unsettling camera work is a simplistic choice made by Madsen to interpret the true extent of Kira’s psychological disorder. It is a film of close-ups, grainy textures and disjointed camera angles. I was captivated by the conflicted, child-like nature of these two adults. Stengade and Mikkelsen were wonderful and I was very happy to have discovered it!

Read more about the film at: http://www.dfi.dk/faktaomfilm/danishfilms/dffilm.aspx?id=10104

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Flame and Citron Ole Christian Madsen

This film was awesome. It was about two Dutch resistance fighters during WWII and it was everything you want  a resistance film to be. It was based on a true story. There was intrigue, double crossing, a bad ass redhead, subtitles, and plenty of killing Nazis. Theres not much more to say about it. Highly highly recommended.

Danish Filmmakers on Carl Theodor Dreyer

The second one hears Christoffer Boe describe Carl Theodor Dreyer’s filmmaking as building churches is the moment that it all makes sense. The master Danish film director did precisely that: he built monumental structures in which the spiritual and the human meet, rich cinematic churches that lead you into a world within this world.

Carl Theodor Dreyer stands among those directors like Robert Bresson and Andrei Tarkovsky, filmmakers who somehow are out of this world and yet touch upon it with an elegant simplicity that affirms their expanding understanding of life.

In this regard, Christoffer Boe again states something very true:

He is in touch and out of touch with time at all times. He was out of time when he made [his films], and he is out of time now, and he is very much something that you can look at and feel inspired as a director but also as a human being right now.

Back in university and film school, we grew up watching films by somebody who was totally uncompromising, compared to the films of that time, where it was a bit more about entertaining the audience, making them laugh, and competing with television. He set an example being uncompromising, being not very kind to the actors, and daring to be extremely simple, crisp, courageous. - Lone Scherfig

What you can learn from him is basically that when you work as a film artist, you have to choose your style, and then you have to stick to it. All through the film, everyday, you have to stick to the style you choose. Dreyer did that. Very, very, almost anal, was he choosing his style. If you see the close up style in Jean d'Arc or the way he worked with shadow and light in Day of Wrath, you can see how this conscious of style is amazing. You didn’t see that in almost any film artist at that point. That’s basically what makes him a gigantic artist. - Ole Christian Madsen