Directed by Freja Sofie Kirk
Produced by Morph Film
2024
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The piece was reviewed in the danish newspaper Information by Ida Marie Hede, who writes:
“Kirk's cinematic language has its own signature - I think you'll easily recognize her infectious touch. She lets the camera float nimbly through space, repeating its movements with a sweep, quick wavelike pans, from one place to another.We're only ever inside, in a hotel room and a fictional hospital, where scenes seem to start over and over again.
The red poppies in a glass vase, a remember-you-must-die on a hotel table, are captured dancing in one shot with the hallucinatory and murderous glass architecture of the city just outside the hotel window. The soundtrack is taut and crackling. Todd's loudly scratching hands in the gray hair.
There's plenty of ambition for both the dreamy and the deadpan. Kirk's cinematic language lets us feel people trapped in situations, cities, roles, and we never get an overview or distance to either spaces or situations. But we get an acute shock when a pair of (plastic) feet in plastic linings stand on a glass bridge in a bustling city, ready for surgery. In the hospital, the carnal and the artificial are confused when we see the doctors sewing the fictional plastic heart into the fictional chest, yet still holding their breath.
Perhaps Kirk's cinematic method is also a kind of surgery - she is playful with imagery.
The End could easily be more elegant in its use of text and voice-over, there are a few subtitles fluttering around, and I feel like it unfolds the narrative of vulnerability even more. But in the midst of the unreal, my empathy for the sick body is awakened.”