User Reviews

Greetings again from the darkness. Danish writer/director Kristian Haskjold has stated that much of this short film is improvised, while also being based on his real life breakup. Choosing a relationship breakup as the topic for a film means it's unlikely to be a feel-good kind of viewing experience, but expert filmmaking and realistic acting blend to keep us interested for the full 17 minutes.

The opening scene has William (Ferdinand Falsen Hiis) breaking up with Cecilie (Frederikke Dahl Hansen). What follows are the familiar "stages" of a break-up when two people still love and care for each other, but realize they just aren't good together. A shared drug-induced fog leads to a final night of emotional release followed by a morning after of harsh reality. Sprinkled throughout are telling flashbacks – both good and bad – that enlighten us to the story of the couple. The crisp story-telling (defined by excellent use of lighting) of a life event many have experienced … followed by the closing of a door.

Forever Now's premise has become incredibly popular in the studio approach to Indie Films with Marriage Story, Blue Valentine and Manchester By the Sea, amongst others.

However, here you find a raw, sometimes trippy, sometimes solemn film that jumps between story telling styles as it breaks down a relationship retrospectively.

Well worth a watch.

Student filmmaker? Wow! Such an amazing piece following the final stages of a break-up that portrays a universal emotion and connection. To me Cecilie (so wonderfully played by Frederikke Dahl Hansen) seems to sense this coming in the first scene where William (Ferdinand Falsen Hills) embraces her, but she almost reluctantly hugs him and avoids a returned kiss. Then the pain unfolds on the sofa and this moved me to tears. Hansen is so raw and vulnerable at this point. This is acting encapsulated in one moment, her look, her emotions laid completely on the line.

Maybe it resonated with me because I did the same thing with an ex girlfriend about two weeks after we split. It was a joyous experience when I was at my lowest ebb. A way to part like no other. She was there and then she was gone. The last time I saw her (in fact I bumped in to her some years later by accident and she had married the guy she was in love with all along) was going handstands in my grotty little flat. I think it's more complex than this, however...

The Director skillfully juxtaposes night with day, using flashbacks with purpose. I often think flashbacks in short films are a lazy way of executing a story. The exposition using this method at the expense of emotion, actions and words: cutting corners where time is the enemy in a sense. Not the case here: there is a reason behind them and contrasting night and the shadowy, darkness of an emotional break-up, with day: hope springing eternal, ensures the audience doesn't confuse present with past. It's very clever.

There is a look that Cecille gives at the end when the door finally closes, that completely encapsulates her feeling. She smiles twice as she remembers the very first day they met: we see this. What we also see throughout is a frank expression of emotion by both; like we a drawn in to the break-up, through close-ups and hand-held unease. We feel the pain and experience the final chapter with the characters'.

This is now possibly my favourite ever short film. Even more sore than Apricot (Ben Briand). Copenhagen brought me to it and I am glad that I was drawn to it. I am moved and anyone that watches this will be moved.

In high measure, lovely. Or, more precise, a wise, admirable, powerful translation of emotion in image.

The acting is a main virtue in this case, Frederikke Dahl Hansen and Ferdinand Falsen Hills offering not onlz inspired performances but a storz who you can feel, in profound sense, just personal one.

In short, a lovely story of a night who could be the night of break up but it becomes, under effect of MDMA, the moment of fair- profound reflection of gentle nuances of a very intense love story.

In short, a pure gem for grace, tenderness, for sweet - bitter storytelling and for the end, absolutely.

An exceptionl eulogy of truths , fundamental ones, living in us.