Thereafter she appeared in Morten Lorentzen's films Casanova (1990) and Cecilie (1991), and then Thomas Vinterberg's De største helte ( The Greatest Heroes) in 1996. That same year, she earned glowing reviews for her role in the TV production of Hosekrammeren. Dyrholm earned national recognition with her screen debut in the 1990 teenage romance Springflod for which she received the 1991 Bodil Award for Best Actress. In 1995, she debuted in En skærsommernatsdrøm at Grønnegårds Teatret. After her Grand Prix success, Dyrholm recorded a CD of her own songs.ĭyrholm attended the Statens Teaterskole ( Danish National School of Theatre) from 1991 to 1995. In 1987, at 14 years old, Dyrholm made her breakthrough as the lead singer in Trine & The Moonlighters when the group placed third in the Danish Melodi Grand Prix with the song Danse i måneskin ( Dancing in Moonlight). At the age of 10, she performed in Et juleeventyr ( A Christmas Carol) at the Odense Teater and in summer stock in Den Fynske Landsby. When Dyrholm was eight years old, she began performing with the Odense orchestra. Dyrholm has won the Bodil Award for Best Actress five times and a Bodil award for Best Supporting Actress twice as well as six Robert Awards in her acting career. Four years later, she again achieved national recognition when she won the Bodil Award for Best Actress in her debut film: the teenage romance Springflod. Dyrholm received national recognition when she placed third in the Dansk Melodi Grand Prix as a 14-year-old singer. But at the core of this elegantly queasy tale is Danish star Dyrholm’s commanding portrayal of Anne in all her righteous charm, certainty and triggered malevolence, which by the end can make the most charitably minded viewer toward a middle-aged woman’s desires feel like an enlightened dupe, slapped into awareness of how families are no different as power structures than any business shielding a crafty manipulator’s systemic abuse.Īs “Queen of Hearts” moves toward its conclusion, though, Dyrholm is never anything but dimensional about her character’s choices, which keeps this material from being easy to swallow as a moral thriller, and instead edges it ever so persuasively into the realm of soul-crushing tragedy.Trine Dyrholm ( Danish: born 15 April 1972) is a Danish actress, singer and songwriter. The key performances are powerful, and Lindh’s way with the insecurities bubbling inside a sour, vulnerable teen is a small marvel. If that element isn’t clear from the start because of the smiling postcoital faces on Anne and Gustav, it’s made perfectly obvious when exposure is threatened, and Anne turns into an unforgivably cruel protector of her comfortable life at the expense of an emotionally ill-equipped kid under her care.Įl-Toukhy’s taut, Sirk-via-Lupino direction of her script is a confident mapping of this melodrama’s fault lines, marked by the formidable tension of her scenes and her framing of the characters against their environment. The tricky brilliance of “Queen of Hearts” is in how el-Toukhy uses a well-worn narrative - the unsuspecting, hidden passion with the appearance of erotic freedom - to unveil what in reality is a poisonous tale of abuse. It’s a well-intended authority move but with unfortunate consequences when Anne becomes attracted to her stepson, then seduces him. Gustav is good with the girls but he also stages a burglary to steal from the house, which Anne, deploying her mom-as-attorney abilities, discovers and uses as leverage to convince Gustav to step up as a family member. When the couple take in Peter’s estranged, surly teenage son Gustav (Gustav Lindh) from a prior relationship, there’s an adjustment period even for this capable couple. More films from women, and starring women, means more stories about complicated women, and that’s what’s captivatingly on display in filmmaker May el-Toukhy’s domestic drama “Queen of Hearts,” Denmark’s submission for this year’s Oscar for best international feature film.Ī peek inside the luxuriously modern country home of formidable lawyer Anne ( Trine Dyrholm) and physician husband Peter ( Magnus Krepper) would suggest this is a do-gooder pair’s serene refuge: for their cheery twin daughters, for the occasional party hosting their liberal-minded friends and, when necessary, for one of Anne’s clients - typically a young victim of domestic violence - who might need temporary shelter.
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