Kira (film)

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German title Kira
Original title En kærlighedshistorie
Country of production Denmark
original language Danish , Swedish , English
Publishing year 2001
length 92 minutes
Director Ole Christian Madsen
script Ole Christian Madsen
Mogens Rukov
production Bo Ehrhardt
Morten businessman
music César Berti
Øyvind Ougaard
camera Jørgen Johansson
cut Søren B. Ebbe

Kira is a Danish dogma film from 2001. It tells the story of a mentally disturbed woman who has difficulty settling into her family after being released from psychiatry.

The writer wrote Ole Christian Madsen , who along with Mogens Rukov also directed led. Ole Christian Madsen received the Robert Prize of the Danish Film Academy in 2002 for his work . Actress Stine Stengade received both the Robert Prize and the Bodil for her role as Kira . The film was also awarded at the Heidelberg and Viareggio film festivals . The alternative title is Kira sees everything. A love story .


Kira returns from the mental hospital to be met by her husband Mads, an architect who had an affair with Kira's sister Charlotte in her absence, and their two young sons.

She has difficulty finding her way back into her old roles as wife and mother. She suspects the family's new nanny to have slept with her husband and throws her out of the house. At a welcome party for Kira, she suddenly leaves the company and takes refuge in her bedroom. Finally, she seeks out her old father, who once left Kira, Charlotte and their mother to lead his own life and now lives with a younger woman.

Her relationship with Mads shows the inability of the two to communicate with each other, which is also due to the fact that Kira is unable to give a logical reason for her manic-depressive behavior. Kira wants a third child to improve her relationship with Mads, but Mads refuses.

While those around her react with increasing lack of understanding to Kira's mood swings and outbursts, she returns Mad's admission of his affair with Charlotte with indifference and suggests that he part with her because she is a burden for him. After embarrassing her husband at a business lunch in a hotel, it emerges that Kira had a third child before she went to psychiatry, but it died three days after the birth. Kira again asks Mads to leave her for Charlotte so that he can be happy with her, to which Mads reacts with an outburst of anger.

Finally Kira and Mads meet in the hotel lobby, where he invites them to dance. Meanwhile, both Kira's father, whom she had asked to pick him up, and Charlotte, who had told Mads that he wanted to part with Kira, arrive. At the end of the film, however, Kira and Mads drive home together, while Charlotte stays behind with her father.


The film was shot in dogma style. Accordingly, the recordings did not take place in the studio, but at the original locations. Nimbus Film Productions acted as the production company .


“[...] 'Kira' is the 21st Dogma film, shot according to the rules that a group of filmmakers around Lars von Trier established in 1995. You do without complex technology in order to be able to concentrate fully on the actors. That works great here. But 'Kira' is a psychic ride that demands a lot from the audience. "

“[...] How can a relationship survive such crises ?, asks Dogma filmmaker Ole Christian Madsen [...] in his disturbing and intense intimate play. In scenes shot with a nervous Digi-Beta hand-held camera, he unlocks the inner workings of his protagonists layer by layer in order to finally decipher the reason for Kira's sadness. And to show what love is capable of. "

“[…] Perhaps nothing is more difficult with the rules of the Dogma film than this tenderness: the persistence with which the camera follows the actors and repeatedly approaches them with close-ups turns into cold penetrance . Madsen exposed a total of 120 hours of material with a Digi-Beta - as if he had to hoard shots like an insect collector's animals in order to then display the most important specimens. Inevitably, the audience grows longing for structured and carefully illuminated images and for carefully written dialogues - instead of the generalities to which the furious theatrical performances give a meaning that is not theirs. 'I miss who I used to be,' complains Kira in a great dramatic appearance. But who could not say that of themselves when they are over twenty? "

"[...] At the beginning, Kiras Grund (Note: English title: Kira's Reason ) [...] looks like a study inspired by Ingmar Bergman about spiritual fears and demons lurking in the dark corners of an apparently idyllic bourgeois existence. But instead of moving further in a metaphysical direction, the film takes a sharp turn and lingers in its own pain. Finally, true to his title, he tells the reason for Kira's behavior. In a tearful scene, secrets are revealed and traumas are confronted. Finally, the film, which promised much more at the beginning, brings the loose psychological threads together in a banal way that is reminiscent of kitchen psychology. Tears and the admission of one's own vulnerability can undo lifelong oppression. But of course this is never so easy in reality. "


Web links

Individual evidence

  1. Review in the feature film archive of TV Spielfilm magazine: accessed on July 28, 2009.
  2. (editorial rating: 75%) accessed September 28, 2009.
  3. HG Pflaum: There is always a crisis. An attempt in digital psychoanalysis - Ole Christian Madsen's dogma film “Kira”  ( page no longer available , search in web archivesInfo: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. In: Süddeutsche Zeitung. October 29, 2002.@1@ 2Template: Toter Link /  
  4. Steven Holden: A Woman Walking the Edge of Madness. In: The New York Times. April 6, 2002.