Hello, please wake up!.

If no triggers ethics debate: A schnarchiger father falls into a coma patient - and the drama drifts "Unconditional" from the twilight zone between life and death. Or is it just between film noir and hocus-pocus?

 

It is the opportunity. Now or never. Everything once again back to zero. The tough, but unmistakably wilting wife, probably the most precarious, but also somewhat boring children, the credit for the move into an empty high-rise settlement on the outskirts of Copenhagen, the mature scrap wagon in front of the door, the dinner invitations from friends on the weekend, which is also nothing more plan than with any minute to be slightly older.

All the shoots with zoom away from the consciousness. Finally makes room for a wild life. One in which the next day, the passing will always outdo. One, which was finally held and no longer is just super.

One of just how you look at it as a "National Geographic" subscriber has always been presented. At the equator, on an eight-thousand, in the jungle or on the beaches of Polynesia. In any case, on the side of a young, funky, obviously immortal love woman best conditions.

It is Jonas' opportunity. Jonas (Anders W. Berthelsen), the always startling images of spectacular landscapes wanted to make, as a photographer and a Forensic teams actually mainly photographed corpses: dead wives, children and fathers at the end of their Amoklaufs. Victim of a tremendous rage, a satiety, a life, which itself seems aufzufressen.

As Jonas had a car accident is involved, hence a young woman, Julia (Rebecka Hemse), half will be admitted to hospital, he comes to the demarcation line between life and death.

He visited the Julia coma, and when the parents of the patient him for Sebastian, a friend kept her daughter, he embarrassed the hand of the motionless. He speaks with Julia, telling her invented stories from his life as Sebastian and visited them regularly now. You wake up, you can barely see and even less to remember.

Now or never. So Jonah to Sebastian. The police photographer is married to an independent globetrotters, from the father schnarchigen a risk-lover ready. And do not forget, a divine forces of the same fate.

That is roughly the story of "Bedingunglos" by Danish director Ole Bornedal. With "Freeze - Nightmare Nightwatch" (1994) and its American remake, which Bornedal even three years later was staged, he was internationally known.

VIDEOS ON FILM

Photo: MFA
Video: MFA/24 Images

"Unconditional"
Trailer and Film Clips

Film clip: "Dad makes photos of those who no longer live"
Film clip: "On the run"
Film excerpt: "Kiss it!"

And his penchant for morbid, for appointed Tabubrüche and aufgeplatzte surface is concerned, he remained true to its beginnings. Added are costly frills in his own narrative style.

In his previous films has Bornedal in crude stories of fear and violence to the aesthetic principle of fragmentation collected. This was once a radical, bold and cheeky. In perfect new lighting, sophisticated pans and painstaking Farbdramaturgie that everything with a morbid and andeutungsvollen patina covers, it seems a bit too calculated and abgeschmackt.

And when the camera is right at the beginning of over a zerschossenen Jonas circling us and the main character dying off, a casual assessment of these stresses picture setting provides, describes not only the beginning of a confirmed self-reflection. But also the unbridled joy of the film on its own attractions: the wet asphalt, that the dead man, later destroyed by the woman, with the reminder divided. "A beautiful woman with a secret so ... not starting at all film noir?" says a colleague from the police.

Sometimes is a mysterious beauty of the beginning of a film noir, sometimes a large hocus-pocus. And "Unconditional" varies a bit between the two. His best moments are those where the film itself along with its narrator about himself makes fun.

Some if it is to recognize there as shameless, even ridiculous men dream, of manipulation and power of social climbing, sex and world mastery. As an internal Nazi Party, celebrating the power of the man in the true, little lives is not even a touch can be presented. Jonas, the frustrated male rubs the eyes, and awakens as alpha animalcule a totally helpless female.

But there's still the other, the villains, the partout not want to die, the silver back of the gorillas, which are simply taking what they want. The real Sebastian's flat.

With these moves in the film, however, a morality that the hybrid, cowardly, but always self-noise a conventional psycho-thriller makes. In between, there are limits even just vernichtenswert good and bad. So we know that and it will be a bit boring.