Vinterberg presents a ’70s commune, in theory and practice – SFGate

A scene from Danish film "The Commune," directed by Thomas Vinterberg. Individual actors not ID'd.

A scene from Danish film "The Commune," directed by Thomas Vinterberg. Individual actors not ID'd.

Vinterberg presents a 70s commune, in theory and practice

Young and not-so-young adults considering a communal lifestyle will find little encouragement in Thomas Vinterbergs new film. The Commune doesnt pull its punches: Were shown that nontraditional households can be very taxing on individuals and are anything but good medicine for stale marriages.

This is an ensemble drama, a type in which this highly capable Danish filmmaker has excelled in the past (The Celebration, 1999). Viewers may recall that Vinterberg was a co-founder, with Lars von Trier, of the Dogme 95 movement, which advocated a highly stripped-down version of moviemaking. Both filmmakers have since moved in a less austere direction.

The setting is Copenhagen in the late 1970s. Erik (Ulrich Thomsen like many members of the cast, a Vinterberg regular) is a professor of architecture with anger issues who has just inherited a large house. Its too much for his family newscaster wife Anna (an excellent Trine Dyrholm) and teenage daughter Freja (Martha Sofie Wallstrom Hansen).

Instead of selling the residence, as Erik plans, Anna proposes that they fill up the empty space with bodies. Friends, acquaintances, strangers anyone who passes the groups scrutiny and is willing to abide by the rules will receive a share of ownership. When the initial members OK the plan, everyone celebrates by going skinny-dipping.

What could go wrong?

A couple of shadows fall on the euphoric early days of the venture. Among them: Weve heard Anna inform Erik that she has suggested collective living because she is, well, bored, and wants to hear some fresh voices when she gets home. There are also disturbing notes sounded in how the group deals with one potential housemate, a weak individual with a spotty source of income.

The housemates share not only their meals, but their feelings, and at length. Secrets are considered dangerous (which, of course, doesnt mean they dont exist). All are supposed to be equal, but a leader, whos a bit of a bully, emerges. Things really start to get hairy when Erik begins an affair with a female graduate student, and informs Anna (not entirely willingly).

Instead of giving him the bums rush, she succumbs to the zeitgeist and suggests that he bring the young woman home to join the commune. He does so, and I can say without spoiling anything that there certainly are repercussions, most notably for Anna and Freja.

Vinterberg, who also co-wrote the script (with Tobias Lindholm), grew up in a commune, and you get the feeling he knows what hes talking about. Hes a sharp observer of the members of this household, and has an acerbic side that doesnt cut them a lot of slack. But theres quiet compassion as well, and not only for Eriks wife and daughter.

The films melodramatic streak is rescued by the exceptional performance from Dyrholm (who also appeared in Celebration). You get the sense that her Anna is rather shocked when communal living fails to create the utopia it promises, and the actress is remarkable at registering the ptofound emotional price it extracts in reality.

Walter Addiego is a San Francisco Chronicle staff writer. Email: waddiego@sfchronicle.com.

The Commune

Drama. With Trine Dyrholm, Ulrich Thomsen, Martha Sofie Wallstrom Hansen. Directed by Thomas Vinterberg. In Danish with English subtitles. Not rated. 111 minutes.

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Vinterberg presents a '70s commune, in theory and practice - SFGate