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SUSANNE BIER 358 From Dogma to Hollywood
359 I still remember watching the 2010 Academy Awards ceremony when the stunning presence of Barbra Streisand showed up on stage to introduce the five nominees for best achievement in directing. It was a special night, although James Cameron was the main favorite, for the first time a woman and an African American director could win an Oscar. But when Barbra opened the envelop something in cinema history changed and her first words were: „Well, the time has come!“ and a very nervous Kathryn Bigelow won the golden trophy. David defeated Goliath. The Hurt locker defeated Avatar and a woman defeated a man called James „The King of the World“ Cameron. Only 4 women had been nominated for this Oscar. Lina Wermüller in 1976, Jane Campion in 1993, Sofia Coppola in 2003 and the winner Kathryn Bigelow. It seems directing is still a man‘s world. Hundreds of men but only dozens of women. Jodie Foster, Penny Marshall, Julie Taymor, Agnieszka Holland or Isabel Coixet to name a few more. And one of these brave fighters is the Danish director Susanne Bier. At the moment it‘s easy to see many Scandinavian directors working in Hollywood but some years ago it was unthinkable to see people like Lars von Trier (Melancholia) or Thomas Vinterberg (Dear Wendy) directing a very fresh and light comedy with Julia Roberts for example. Things have changed and some names like Ole Bornedal (Nightwatch), Niels Arden Oplev (Dead Man Down), Lone Scherfig (An Education) and of course Lasse Hallström (The Cider House Rules, Salmon Fishing in the Yemen, who can be considered an American director) but in 2012 he was back to his native Sweden to shoot the thriller Hypnotisören with his wife Lena Olin maybe following the recent boom of Scandinavian crime fiction (see our Top 5 in this issue). Susanne Bier was born in Copenhagen in a jewish family and was an important part of Dogma movement where she became very popular with films like Open Hearts (2002). Bier always tended to show these emotional relationships pushing her characters to the limit with a deep and effective morality and soon she turned into one of the most popular Danish film makers working with the best of Danish cinema like Mads Mikkelsen, Connie Nielsen, Mikael Persbrandt, Ulrich Thomsen or Trine Dyrholm in masterpieces like Brothers (2004), After the wedding (2006) and In a better world (2010). Bier (who also won an Oscar in 2011 for Best Foreign Language Film with her excellent film In a better world) is a „rara avis“. A director who comes from Dogma and fits perfectly in both sides of the Atlantic or perhaps somewhere in the middle. Susanne Bier is able to develop her cinema between the borders of two continents, between both ways of making cinema, the emotional drama, the „made for TV“ short of narrative and social critic like most of Lars von Trier‘s works (producer of many of her films). In her films we usually find a common line that has become something really characteristic in all of her works: the portrait of emotional links between families and couples. Of course the American industry didn‘t take long to discover her talent and call her and in 2007 she released Things We Lost in the Fire with Benicio Del Toro and Halle Berry (in probably her best role after Monster‘s Ball) but the reception of the film wasn‘t as good as the producers expected perhaps because the audience thought it was a regular romantic drama with the two popular stars. In my opinion Things We Lost in the Fire is one of her finest films, a chronicle of a very painful redemption, an elegy of survival when the external and internal fire, fate or soul‘s demons have devastated every existing thing around us. I still remember the first time I watched this film, I remember the way it touched and moved me. I have to admit I‘m quite a cryer but this time my tears were extremely dry. I imagine there are no formulas or rules in fiction to make the audience cry. Everyone cries when or how he/ she feels like it, even when the melodrama is heading that purpose. Susanne Bier is one of those directors who takes you to that place where your eyes start to get wet maybe because our own life gets related in a certain way to the fate of some of the characters on the screen in front of us. And that feeling is simply priceless. In her last film Love is all you need, staring Pierce Brosnan and Trine Dyrholm, Bier has gone back to comedy after many years. But not the typical romantic comedy made in USA. Susanne Bier has the ability of making comedy from the drama of a woman healing from cancer while she discovers her husband‘s infidelity. Again, love, family and human conditions as the main engine of her films. The film never loses its humor and although this last film seems to be lighter than the rest, it keeps that exquisite taste of the Danish director while taking the human side of drama and never forgetting Bier‘s films identity: a wedding (After the wedding), dysfunctional families (Brothers, Things We Lost in the Fire) or cancer (In a Better World) but also pain, vulnerability and seeking happiness. She has completed her second American film called Serena about a couple in North Carolina during the Depression-era staring Jennifer Lawrence and Bradley Cooper. The film will be released later this year. Let‘s see how it will turn out. Of course no one is perfect and it is said that working with her is hard as she turns out to be very authoritarian. But like her i do believe good directors have to be a bit dictatorial. If an actor wants to risk and be able to get to hidden places that actor must know there‘s a director covering his back who knows what he‘s doing. And Susanne Bier seems to know very well what she has in her hands. Some of her critics say her films are just a bunch of high standing „soap operas“ but in my opinion, if Susanne Bier didn‘t exist we should have to invent her. Text by Claudio Alvargonzález Tera
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