31/08/2025 - VENICE 2025: Anders Thomas Jensen signs a grand piece of darkly bizarre, jovially humanistic Danish auteur cinema

For four decades and counting, Anders Thomas Jensen has been a powerhouse dynamo within contemporary Danish cinema, gracing worldwide A-list arenas. The Last Viking [+see also:
trailer
film profile], entered out of competition at the 82nd Venice Film Festival, additionally showcases his directorial skills, which (despite a Best Short Film Oscar) can be said to have taken a back seat to his penmanship.

For primarily, it’s Jensen the screenwriter that has international clout. Mifune, Open Hearts [+see also:
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film profile], Wilbur Wants to Kill Himself [+see also:
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film profile], Brothers [+see also:
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film profile], After the Wedding [+see also:
film review
trailer
interview: Sisse Graum Jørgensen
interview: Susanne Bier
film profile], In a Better World [+see also:
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film profile] and The Promised Land [+see also:
film review
trailer
film profile] are all part of his impressive CV as a prolific supplier of heartfelt, earthy Scandinaviana, gaining accolades and prestigious overseas remake treatments.

Parallel, Jensen the director enjoys a career as the creator of bizarrely jovial fables involving callous criminal characters doing despicable deeds – all in a grand design involving acceptance, redemption and love for one's fellow human being, despicable or not. As for domestic ticket sales, he’s doing swimmingly; Flickering Lights, The Green Butchers [+see also:
trailer
film profile], Adam’s Apples [+see also:
film review
trailer
interview: Anders Thomas Jensen
interview: Mads Mikkelsen
interview: Tivi Magnusson
film profile] and Riders of Justice [+see also:
film review
trailer
interview: Anders Thomas Jensen
film profile] (his closest to an international hit had Covid not interfered) have all topped the box office. Critics sing the praises of this well-tempered Tarantino-Coen for his Danish quirks and idiosyncrasies, drenched in Spielberg-like glow. A stellar, recurring stock company doesn’t hurt: Nikolaj Lie Kaas, Mads Mikkelsen (usually in a wig), Sofie Gråbøl and Bodil Jørgensen are all usual suspects, all of them rounded up here.

It all starts as hardened robber Anker (Kaas) gets out after a 15-year prison stretch, ready to recoup a bank job loot of 20 million, hidden by his brother Manfred (Mikkelsen in a wig). Manfred has a deep Viking affinity and resides well beyond the autism spectrum (and then some). The trail brings them to their one-time childhood home, welcomed as Airbnb guests by dysfunctional couple Margrethe (Gråbøl) and Werner (Søren Malling). Trouble aplenty awaits. A ferociously fist-swinging goon from the robbery, Friendly Flemming (Nicolas Bro, überdespicable), turns up and needs more cash, actually all of it, “or things will get out of hand”. Manfred won’t/can’t divulge the hiding place; besides, he now identifies as “John” – “Lennon”, no less. Then there’s the place itself, harbouring dark memories of an abusive father (Lars Ranthe) who made life true hell for the brothers. Trouble aplenty indeed. All in the grandly bizarre design of this unusual auteur.

Like a Roy Andersson or an Aki Kaurismäki, Anders Thomas Jensen has that instant directing signature that identifies him within a minute’s screen-time. Like Thomas Vinterberg, Nicolas Winding Refn and Susanne Bier, he’s every inch as instrumental in defining the Danish cinema wave that took off in the mid-90s and still rolls on. Four decades and running, may Mr J. finally be ready to conquer the world?

Meanwhile at the old house, psychiatric expert Dr Lothar (Lars Brygmann), has assembled a full Beatles line-up, all consisting of delusional patients. As luck has it, a Ringo dwells nearby, and in Sweden a case is found who alters between George and Paul (and occasionally even ABBA-Björn). With a little help from these friends, we know you will enjoy the show.

The Last Viking was produced by Zentropa and Zentropa Sweden. International sales are handled by TrustNordisk.