Trine Dyrholm to star in Charlotte Sielings historical epic Margrete Queen Of The North News

Table Of Content

• Charlotte Sieling and Trine Dyrholm on Margrete: Queen Of The North
• Production
• Tine Fischer appointed director of Danish Film Institute
• Cannes Directors’ Fortnight title ‘Desert Of Namibia’ joins Happinet slate (exclusive)
• ‘Margrete: Queen of the North’ Review: Trine Dyrholm Plays a Game of Thrones in a Lavish, Stately Historical Drama
• Storyline

SF Studios is planning to release the film during the third quarter of this year. Dyrholm stars opposite Søren Malling (“The Investigation”), Morten Hee Andersen (“Ride Upon the Storm”), Jakob Oftebro (“Kon-tiki”), Bjørn Floberg (“Out Stealing Horses”), Magnus Krepper (“Queen of Hearts”), and Thomas W. Gabrielsson (“A Royal Affair”). We're looking forward to Cannes and the Muslim International Film Festival. The girl (Nicole Rosney) with the big concerned eyes, dirty face, and crown on her head will become Margrete (Trine Dyrholm), creator of the Kalmar Union, which lasted for 126 years and braided together Denmark, Norway, and Sweden in unprecedented peace.

Charlotte Sieling and Trine Dyrholm on Margrete: Queen Of The North

Denmark, our little welfare country is a lovely place, but culture is still not regarded to be as important as it should be. If you don’t have anything else to do, then go watch a musical. What’s fascinating about history is that it’s out of our reach. We can know about events, but our imagination allows us to be curious about the private thoughts and moments of the people involved. What has your own opinion on monarchy been through the years? Denmark still has kings and queens, and the current one is even named Margrete, as it happens.I’ve never taken a stand.

Production

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.

Tine Fischer appointed director of Danish Film Institute

If we think about being together, and holding onto our differences, but at least helping each other, instead of the opposite, it’s a powerful thought. Still, you have chosen Haugesund for the world premiere. Because this thoroughly Scandinavian story needs a thoroughly Scandinavian place of unveiling. When we were offered this opportunity, I just said yes, that’s it!

Trine Dyrholm to star in Charlotte Sieling's historical epic 'Margrete – Queen Of The North' - Screen International

Trine Dyrholm to star in Charlotte Sieling's historical epic 'Margrete – Queen Of The North'.

Posted: Fri, 14 Feb 2020 08:00:00 GMT [source]

While the plot is at times overstuffed with palace intrigues, this piercing character study carries a contemporary poignancy, as it encapsulates the difficult choices a female leader has to make in a world bounded by patriarchal control. Unlike, for example, Game of Thrones, this story has very real and accurate historical locations. How does one go about in getting this part as right as possible, some six centuries later?

Cannes Directors’ Fortnight title ‘Desert Of Namibia’ joins Happinet slate (exclusive)

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.

At first glance, the claim appears to be preposterous—it cannot be mere coincidence that he should turn up just as the all-important wedding is about to commence—and Margrete believes that he's an imposter. However, other people in power are convinced the newcomer is actually who he says he is, threatening to throw both the wedding and the fragile alliance between the countries into doubt. When Margrete learns that no one actually saw Oluf’s body after his alleged death, she's forced to confront the possibility that his story is true. With only a few days before everything that she has worked for collapses around her, Margrete sends off a couple of trusted advisors to look into the story and does some nosing around on her own. Meanwhile, the increasingly frustrated Erik lets power go to his head and finds himself unwittingly being manipulated by a number of people who wish to seize control for themselves. Over the following days, Margrete finds herself faced with a horrible dilemma.

‘Margrete: Queen of the North’ Review: Trine Dyrholm Plays a Game of Thrones in a Lavish, Stately Historical Drama

One gets hold of a production designer like Søren Schwartzberg and a cinematographer like Rasmus Videbæk. Then one starts to draw every location, then build every interior that you see, except for two Czech castles where we used a staircase and some other small things. To further solidify her position and to help stave off a potential invasion from Germany, a marriage has been arranged between Erik and England’s Princess Philippa that will help create a new alliance. On the eve of the wedding, just as negotiations regarding the dowry have kicked into high gear, things take a turn when a man (Jakob Oftebro) arrives in court proclaiming that he, in fact, is the real King Oluf and therefore the true ruler of the land.

On the eve of the engagement between Margrete’s adopted son Erik (Morten Hee Andersen), and Princess Philippa (Diana Martinová), daughter of England’s Henry IV, news broke that the Queen’s biological son King Olaf (Jakob Oftebro) had returned from the dead. This sudden arrival not only unsettled political coalitions but also sent the usually stoic Margrete into a state of distress. Since she was not at his side when Olaf died, her maternal grief encouraged her to believe that Olaf had survived.

Coming up - Charlotte Sieling and Trine Dyrholm on horseback riding, 'women peace', plant metaphors, working on a character and the architecture of the script with Jesper Fink, Princess Philippa, and pirates. Sieling previously worked with Malling and Oftebro in her 2017 feature The Man. She has also directed TV hits including Homeland, The Americans, The Killing and Borgen. Most recently, she directed HBO’s upcoming horror series Lovecraft Country.

However, just as Margrete is about to slip out of the castle to rendezvous with Oluf and Asle, Jakob Nilsson arrives to see her, newly returned from his escapade in Prussia. Realising that Scandinavian unity is more important in the face of the Teutonic threat than her personal feelings, Margrete betrays Oluf, who is quickly recaptured by Erik's men. Margrete manages to persuade Erik to spare Asle, but Oluf is publicly burned alive as a traitor in front of his mother.

The roles include Ophelia in Shakespeare's 'Hamlet' and Esmeralda in Victor Hugo's 'The Hunchback of Notre Dame'. Her roles in film and TV include the Swedish mini-series 'Rosenbaum' (1993), Jon Bang Carlsen's 'Carmen & Babyface' (1995), Carsten Sønder's 'Love, don't love (1995), and Jørn Faurschou's 'Dangerous Friendship ' (1995). This led her to apply to the Danish Film School, where she graduated as a screenwriter in 1995.

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.

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.

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.