‘Beginnings’ Review: Trine Dyrholm is Superb in an Emotionally Acute Portrait of a Divorce Disrupted

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In Jeanette Nordahl’s sophomore film “Beginnings,” the intertwining themes of marital breakdown and health recovery are powerfully portrayed in an emotional yet unexpected manner. Released five years following her first film, the somber criminal drama “Wildland,” which showcased a striking performance by Sidse Babett Knudsen, Nordahl’s latest work again utilizes skillful and restrained filmmaking to highlight two gripping, vulnerable performances from stars Trine Dyrholm and David Dencik. Both actors deliver raw and heartfelt portrayals of a troubled couple navigating the uncertain waters of their long-standing marriage.

The story unfolds as Dyrholm’s character, a successful working mom, experiences a devastating stroke, causing a delay in an already prolonged divorce process. “Beginnings” delicately explores the complicated emotions and lingering responsibilities between a couple who are both eager yet reluctant to separate. However, it also empathizes with other affected parties such as their ailing eldest daughter and a lover waiting for her life’s next chapter. Nordahl and co-writer Rasmus Birch maintain tension without resorting to melodrama, creating a film that is both relatable and suitable for a wide audience in the art house circuit. This film was recently shown in Berlin’s Panorama section.

In the early sequences, we see Ane (Dyrholm), an accomplished marine biologist and university professor, juggling her demanding career with motherhood. Her daughters Clara (Björk Storm) is a talented teen gymnast, while Marie (Luna Fuglsang Svelmøe) is a creative 10-year-old. Thomas (Dencik), Ane’s husband, works under pressure at a facility for troubled boys, but he’s less tense in nature. Ane often criticizes him as ‘irresponsible and avoidant of conflict’. The couple’s long-standing bickering is evident. Snippets from home life subtly portray a household brimming with activity yet lacking in quality family time. The cluttered kitchen counter, frequently used but seldom properly cleaned, speaks volumes about their hectic lifestyle and lack of togetherness.

viewers can sense the frosty tension between the couple, long before they discuss the impending divorce, in an initial scene. Despite Thomas already scouting apartments with Stine (Johanne Louise Schmidt), a coworker he’s been involved with for some time, he hesitates when it comes to dissolving their family, proposing they keep the truth from their daughters until their house sale is underway. However, this unwise delay leads to disaster when Ane suffers a stroke. Although she recovers, her brain damage is severe enough that she requires continuous care as she learns to walk and function again. Thomas dutifully takes on his responsibilities, but his presence often irritates her more than comforts.

In terms of narrative structure, “Beginnings” offers an engaging struggle, steering clear of simplistic victories to highlight both the physical and mental fatigue experienced when one’s body no longer feels fully one’s own. It deliberately provokes empathy from its audience: A striking scene involves Ane lashing out at Clara during a family dinner, reaching a level of emotional intensity that is uncomfortable to witness. Actress Dyrholm delivers a courageous portrayal, subtly conveying her character’s unique physical limitations while also expressing an intense inner awareness that frequently bursts forth.

Similarly striking is the path taken by Clara, once cheerful and robust, who transforms into a fragile and occasionally sharp character following a traumatic event, as she begins to uncover secrets her parents have kept hidden from her. In her initial role on screen, Storm masterfully portrays these transitions with promising finesse and maturity. Amidst these turbulent shifts, Dencik provides a calming influence, though both Thomas and he can at times be filled with simmering anger and pain, yet bound by unwavering love.

Initially, “Beginnings” skillfully navigates complex familial dynamics without veering into predictable territory. However, towards its conclusion, the story takes a more melodramatic turn as Ane’s hasty pursuit of independence unintentionally threatens the family’s wellbeing. This sudden shift feels overly dramatic and stretches credibility, especially given the already tense and intricate family portrait that precedes it. What truly resonates in this narrative are the subtle, everyday expressions of affection and loyalty, which carry a profound impact.

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2025-03-08 16:47