"It seemed like a good idea at the time." I wish I had a dollar for every occasion when that thought has crossed someone's mind. But first some background. Is modern life in an affluent European country (with its taxpayer-funded health, education and welfare) rather too comfortable, rather too safe, rather too unchallenging, rather too dull, for some individuals? Our ancient ancestors developed genes for taking risks, sometimes awful risks, simply to survive. Julia Castlund, daughter of a wealthy publisher, ought to be able to settle down to a life of fulfilment and contentment in modern, enlightened Denmark - but no, she's a fidgety, rebellious risk-taker, with a history of perilously unsuitable boyfriends. The latest news her family has had from her is that she's roaming round the Far East - Cambodia or Vietnam or somewhere - and her current love interest is a Dane she's met out there called Sebastian (no details as to what he does for a living).
Meanwhile, in the heavily mortgaged suburbs, Jonas lives in a comfortable home with his nice wife and two lovely children. He has a steady job (not very well paid) as a crime-scene photographer for the police. Jonas wouldn't do anything irrational or impulsive - would he? If there's one thing he's learned in this job, it's that horrific outcomes sometimes occur when people make impulsive choices, perhaps quite "trivial" choices. And one of the reasons why bodies end up on a slab in the morgue is "love gone wrong" - be warned. There's a sharp disconnect between Jonas's agreeable domestic life and the ghastly events he has to photograph: mutilated bodies, murdered children, etc.
If Jonas is going to keep this family car, he really ought to spend some serious money on it - it's been giving a lot of trouble. On a busy road it conks out, and he can't get it started again. A preoccupied driver, going fairly fast, swerves to avoid this obstacle and collides with a vehicle coming the other way. The driver is Julia. What's she doing back in Denmark? Now she's in intensive care. Jonas feels responsible, guilty. He goes to the hospital, but he's not allowed to see her because he's not "family". She's in a coma, and several family members are gathered around her bed. Jonas has a bright idea. He gains entry to the room by pretending to be Sebastian (it seems like a good plan at the time). The family are delighted to see him - partly because he looks like a normal sort of guy, and not one of the weirdos that Julia usually dates. "Talk to her, Sebastian. See if you can get her to wake up." And she does wake up, sort of, with amnesia and seriously impaired eyesight, her face hacked about by broken glass, and with tubes stuck in her orifices. And Jonas falls in love...
He does what? You make one silly little "mistake", and your whole life has to spin out of control? Apparently so. Jonas obtains this suitcase that Julia had in her car. A police colleague tells him about an Interpol notification: it looks like Sebastian was shot and killed in Hanoi - but why? Some bad guys were after him? The title "Just Another Love Story" is ironic. It's more than a love story, it's more than one love story, and at least one of its love stories is decidedly unusual. On the other side of the coinage of love is death, nightmare, a journey to the underworld, a ride to that slab in the morgue. It's not clear that anything is going to be inevitable - until it happens. And then you can see the inevitability. For the alert viewer, there are some nice "Now I understand" moments, and some nice "Ah, that's what must have happened" moments (you may have the opportunity to see this movie twice). All this and more - much more. Altogether, a thoroughly satisfying film.
Meanwhile, in the heavily mortgaged suburbs, Jonas lives in a comfortable home with his nice wife and two lovely children. He has a steady job (not very well paid) as a crime-scene photographer for the police. Jonas wouldn't do anything irrational or impulsive - would he? If there's one thing he's learned in this job, it's that horrific outcomes sometimes occur when people make impulsive choices, perhaps quite "trivial" choices. And one of the reasons why bodies end up on a slab in the morgue is "love gone wrong" - be warned. There's a sharp disconnect between Jonas's agreeable domestic life and the ghastly events he has to photograph: mutilated bodies, murdered children, etc.
If Jonas is going to keep this family car, he really ought to spend some serious money on it - it's been giving a lot of trouble. On a busy road it conks out, and he can't get it started again. A preoccupied driver, going fairly fast, swerves to avoid this obstacle and collides with a vehicle coming the other way. The driver is Julia. What's she doing back in Denmark? Now she's in intensive care. Jonas feels responsible, guilty. He goes to the hospital, but he's not allowed to see her because he's not "family". She's in a coma, and several family members are gathered around her bed. Jonas has a bright idea. He gains entry to the room by pretending to be Sebastian (it seems like a good plan at the time). The family are delighted to see him - partly because he looks like a normal sort of guy, and not one of the weirdos that Julia usually dates. "Talk to her, Sebastian. See if you can get her to wake up." And she does wake up, sort of, with amnesia and seriously impaired eyesight, her face hacked about by broken glass, and with tubes stuck in her orifices. And Jonas falls in love...
He does what? You make one silly little "mistake", and your whole life has to spin out of control? Apparently so. Jonas obtains this suitcase that Julia had in her car. A police colleague tells him about an Interpol notification: it looks like Sebastian was shot and killed in Hanoi - but why? Some bad guys were after him? The title "Just Another Love Story" is ironic. It's more than a love story, it's more than one love story, and at least one of its love stories is decidedly unusual. On the other side of the coinage of love is death, nightmare, a journey to the underworld, a ride to that slab in the morgue. It's not clear that anything is going to be inevitable - until it happens. And then you can see the inevitability. For the alert viewer, there are some nice "Now I understand" moments, and some nice "Ah, that's what must have happened" moments (you may have the opportunity to see this movie twice). All this and more - much more. Altogether, a thoroughly satisfying film.