Cannes Film Festival
I wasn’t invited to serve on Nanni Moretti’s jury this year, but if I had been, my vote for the Palme D’Or would have gone to Thomas Vinterberg’s “The Hunt” without question or hesitation. More than any of the twelve competition films I saw, it captivated me from the outset and proceeded to shake me to my core all the way to its jarring ending. Much like “In a Better World” or “The Class,” this film has the ability to play well in any country and in any language due to the universality of its story.
I quickly forgot I was reading subtitles as I got drawn into the film’s narrative. Vinterberg’s film, which he also co-wrote with Tobias Lindholm, has echoes of Arthur Miller, one of the biggest compliments I can provide to a piece of writing. This contemporary “Crucible” follows Mads Mikkelsen as Lucas, a Danish kindergarten teacher, as he must fend off accusations of indecent exposure to a young child and the ensuing social stigmatization. While Lucas is reserved, Mikkelsen never lets us doubt for a second that his character is an upright man who is merely the victim of a child’s curiosity being spun into something untrue.
And Mikkelsen, rightful and deserving winner of the Best Actor prize at Cannes, keeps our eyes glued to the screen as we watch the harrowing toll of these false charges on his psyche as well as his estranged son. The story unfolds rather predictably for the first two acts (no thanks to Arthur Miller), but Mikkelsen really goes unhinged in the film’s finale and absolutely kills it. As the metaphorically hunted of the film’s title, he begins to strike back against those who defiled his reputation based on baseless and circumstantial evidence.