Charlotte Sieling Director Interview

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• ‘Margrete – Queen of the North’ Teaser, Poster Unveiled by REinvent, SF Studios (EXCLUSIVE)
• Margrete: Queen of the North
• Margrete: Queen of the North (
• Charlotte Sieling and Trine Dyrholm on Margrete: Queen Of The North
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• Margrete: Queen of the North ( Stream and Watch Online
• Blue Ivy joins mom Beyoncé in ‘Lion King’ prequel ‘Mufasa.’ Can you feel the love?

Forty years later, and Margrete, now queen, has successfully united Denmark, Norway and Sweden under her rule, thereby founding the Kalmar Union and bringing a decade of peace to a region hitherto wracked by constant warfare. It was one of the largest productions in the history of Danish cinema, enjoying the largest budget ever for a Danish-language feature film.[4][5] It premiered on 16 September 2021. As we age, the emotions a character experiences, such as pain, joy, hope, and despair resonate more strongly with us. Whereas to our younger selves, these were simply dramatic concepts. This makes the experience of watching films uncomfortable because we sense and identify with realism. But her reign also saw a bizarre mystery in the Scandinavian region, which forms the emotional beating heart of this stately film.

‘Margrete – Queen of the North’ Teaser, Poster Unveiled by REinvent, SF Studios (EXCLUSIVE)

Cinema creates a safe space where borders are broken down and the emphasis on political, cultural, and economic divisions are neutralised. It also offers sanctuary from a society that’s seeing a rise in individualism and nationalism. In conversation with PopMatters, Sieling and Dyrholm discuss reinvigorating the clichés of the middle ages to tell a modern story out of the past. Throughout, both the character and the film constantly keep one guessing as to whether Margrete’s driving impulse leans more in the direction of the maternal or the Machiavellian. Sieling maintains an equally firm handle on the potent material, but it’s the title performance by Dyrholm that makes it sizzle.

Margrete: Queen of the North

Without comparing ourselves to Shakespeare, we chose the theme and set it across nine days – it’s not a biopic of Margrete’s whole life. We chose that way of telling her story because we thought this is the real drama. How can the king keep his kingdom, and what does he have to pay for holding onto power? Fortunately in our world, it was a woman, and we could tell her true story. When you talk about age, we can also talk about culture and differences.

Margrete: Queen of the North (

By the time "Margrete" gets to its grand finale, what should have made for a shocking and powerful moment will inspire little more than a shrug from most viewers. Aside from the design departments, the craft MVP here is probably DP Rasmus Videbæk, whose magisterial camerawork makes the candlelit interiors feel as imposing as the sweeping landscapes, to the accompaniment of Jon Ekstrand’s elegant, classical score. But the very magnificence of the whole production, from its smorgasbord of Nordic acting talent to its self-conscious lionization of a remarkable woman wielding immense power within an otherwise suffocatingly male environment, also serves a more contemporary agenda. At one point, Margrete rescues a young woman, Astrid (Agnes Westerlund Rase) and pointedly reminds the pirate who captured her that rape is a hanging offense.

Margrete: Queen of the North - Denmark's Historical Monarch is One Tough Mother — Original Cin - Original Cin

Margrete: Queen of the North - Denmark's Historical Monarch is One Tough Mother — Original Cin.

Posted: Tue, 21 Dec 2021 08:00:00 GMT [source]

On the other hand, Asle Jonsson and the Norwegian councillors are adamant that the Man from Graudenz is Oluf, and the more Margrete speaks to him, the more she starts to wonder if he really is her son. A further element of doubt is introduced when she discovers that none of her councillors saw Oluf's corpse after his supposed death, as they were all too afraid of infection from the plague to open his coffin. In 1402, Margrete summons the leading magnates of the three kingdoms to Kalmar Castle to witness Erik's betrothal to Philippa of England, the daughter of King Henry IV of England. Philippa is accompanied by an English lord, William Bourcier, who has been tasked with negotiating the financial and political terms of the marriage agreement. Margrete is especially keen to establish a strong military alliance with England in order to deter attacks by the Union's German enemies, in particular the Teutonic Order, which rules Prussia and has also recently seized the Swedish island of Gotland. The Union [EU] is filled with political issues, national and personal that people want out of it.

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A favorite of directors Thomas Vinterberg and Susanne Bier, Dyrholm invests Margrete with the measured stoicism of a Dame Judi Dench and the guarded compassion of a Meryl Streep, to compelling effect. In a bid to shore up protection of the Nordic Union against threatening German hostility, Margrete has been brokering the marriage between her adopted son, King Erik (Morten Hee Andersen) and Philippa, daughter of English King Henry IV. Sieling co-wrote the script with Jesper Fink (“Before the Frost”) and Maya Ilsøe (“The Legacy”). The film was co-produced by Filmkameratene (Norway), Truenorth (Iceland), Sirena Film (Czech Republic) and Film i Väst (Sweden), with support from the Danish Film Institute, TV 2, Swedish Film Institute, Norwegian Film Institute, Icelandic Film Centre, among others.

Her most vital ally is Bishop Peder (Søren Malling), who represents the church’s interests, and has committed manpower and resources to the creation of a Union army, which will defend the region from attacks believed to be in the offing by Germany. A stranger claiming to be the Queen's son throws the Nordic union into jeopardy in a luxuriously appointed – and paced – medieval drama. I just want to add that we went into lockdown two weeks after starting the film, and all of us were sent back home to isolate for three months. Then we all agreed to stay in a “bubble” in Prague, where we filmed. It was a generous and beautiful experience that all these people agreed to be in a bubble to do this film.

We’d go out to buy takeaway and then go back to the basement of the hotel where we were allowed to eat together, and it made it special. I agree with your thought that it’s a place we need to go, to be there together and build a strong spirit, so we can be strong spiritual people. Otherwise, it’ll be two dimensional and that’s very sad. But the queen’s gambit is derailed with the arrival of a man (Jakob Oftebro) claiming to be her biological son, Olaf, believed to have died 15 years earlier. Margrete (masterfully portrayed by Trine Dyrholm), who reigned from the late 1380s until her death in 1412, was known as a wise and just leader who pulled off what her male counterparts couldn’t — the establishment of a long-lasting peaceful alliance between Denmark, Norway and Sweden. The Times is committed to reviewing theatrical film releases during the COVID-19 pandemic.

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The world is now in total chaos, and we sit in our different countries and we’re nervous about what’s happening, and maybe we’re going back to isolation. We can sit here and talk on zoom, and watch a lot of films on the computer. What we need to do is to communicate, share, reflect and understand what life is about.

I don’t know if I’m right, but that’s what I believe in. The year is 1402 and Margrete rules with her adopted son Erik (Morten Hee Andersen) and her religious advisor Peder (Søren Malling, the father in Christian Tafdrup’s Parents), when a man appears who claims to be her biological son and legal heir. Trouble is brewing from the Teutonic neighbour and the union of Erik with Princess Philippa (Diana Martinová) of England may not work out the way it was planned. As much as Margrete insists that “peace has made us wealthy,” she knows that there are forces abound who want power and don’t mind plunging their countries back into war. Award-winning Queen Of Hearts actress Trine Dyrholm will play a different kind of queen in Charlotte Sieling’s historical epic Margrete – Queen Of The North. That evening Margrete has Asle spring Oluf from his prison cell, intending that the three of them will escape together to Bergen, though she realises that this will probably lead to war between Norway and Denmark-Sweden.

To further stabilize the new Union’s position in Europe, Margrete has negotiated the betrothal of Erik to Philippa, the 13-year-old daughter of the King of England. She arrives at court along with rakish diplomat Bourcier (Paul Blackthorn), who has been sent to negotiate the terms of the marriage. But that very same night, reports run rife through Margrete’s lavish welcome party that a man claiming to be Margrete’s son Oluf, thought to have died some 15 years prior, has suddenly shown up nearby and the Norwegian emissary has already recognized him, and not Erik, as the rightful King. Margete has the man (Jakob Oftebro) summoned and denounces him as a liar in front of the court. It doesn’t help that after a tantalizing glimpse of a body-strewn battlefield that teases a more action-packed narrative than is delivered, the film quickly settles into a more sedate rhythm, establishing the wise statesmanship of Queen Margrete (Trine Dyrholm).

As an adult I’ve thought about the usefulness of a monarchy in a modern age, if any. But on New Year’s Eve, when the queen reads her annual speech, I am moved. That Margrete I was a uniting force is beyond doubt, but our Margrete II is also someone we can gather around, an important part of our collective identity as Danes and something that tells us who we are.

It’s now more important than ever because we’re more lonely now than ever. Stories and characters can invite an audience into a moment, to encounter things that we can’t talk about, and maybe we don’t understand, but we can recognise them and feel that we’re not alone in carrying them. It’s important that art is about carrying it together, about understanding and recognising moments that we can’t talk about, and therefore we have art to discuss these issues. Additionally, this is the first real gala premiere since before Covid.