Sindre Kaspersen Norwegian screenwriter and director Hans Petter Moland's second feature film which he co-wrote with Swedish screenwriter Lars Bill Lundholm and Peter Tutein, is an adaptation of a novel called "Larsen" from 1929 by Danish author Peter Tutein. It premiered in Norway, was shot on location in Norway and Greenland and is a Norway-Sweden co-production which was produced by Norwegian producer Bent Rognlien and Danish actor, producer and director Esben Høilund Carlsen (1941-2011). It tells the story about a poet named Henrik Larsen whom after having proposed to his girlfriend named Gertrud who believes in free love, leaves Christiania, Norway and goes on a fur hunting expedition to Greenland where he is to write a book about the men of the wild and live with a Swedish man named Randbaek and a Norwegian man named Jakob Holm.Subtly and engagingly directed by Nordic filmmaker Hans Petter Moland, this quietly paced fictional tale which is narrated from multiple viewpoints though mostly from the main character's point of view, draws a dense and involving portrayal of an increasingly conflicting relationship between a scientist, a superstitious and antagonizing former sailor and a lyrical violinist. While notable for it's distinct and naturalistic milieu depictions, sterling cinematography by Norwegian cinematographer Philip Øgaard, production design by Polish production designer Janusz Sosnowski, costume design by Norwegian costume designer Bente Winther-Larsen and use of sound, this dialog-driven and narrative-driven story about a winter expedition which turns into a battle for survival between two contradicting personalities and the man in the middle, depicts two in-depth and merging studies of character and contains a great and timely instrumental score by Norwegian composer Terje Rypdal.This somewhat romantic, modestly literary and reflective drama from the mid-1990s which is set during a winter in the mid-1920s in Greenland and where a sadistic misogynist instigates a war with a humane philogynist whom he thinks has to become a real man according to his notions of what a real man is, is impelled and reinforced by it's cogent narrative structure, substantial character development, subtle continuity, scenes between Henrik and Randbaek and Henrik and Gertrud and the memorable and authentic acting performances by Norwegian actors Gard B. Eidsvold and Bjørn Sundqvist and Swedish actor Stellan Skarsgård. A majestically atmospheric, existentialistic and psychological chamber piece which gained, among other awards, the Amanda Award for Best Norwegian Film at the 12th Amanda Awards in 1996.

regnarghost Gard, a Norweigen poet signs up for for some trapper organisation in Greenland. Assumingly looking for adventures and possible material for his writing. In Greenland things slowly starts to turn ugly. His boss Randbaek is a unreasonable man that seems to have a need to bully someone. The only other person on the station is a calm scientist that only engages in a situation if he absolutely has to.One of the best things about this film is the depth of Randebaks character. Despite him being really foul and wretched there is plenty of glimpses of a person with regret beneath this rubble. At times he and Gard accomplished some kind of frail peace and at tmies Randaek even seems to respect Gard. But before there, off-course, they have already exchanged to many blows...Its a raw and powerful film. With the icy north creating a great backdrop for their escalating conflict. Wonderful atmosphere. Lots of humor. With all the actors turning in good performances ( and with Stellan Skarsgard being particularly awesome). The film is at heart a mini-dram (even though there ARE some action) and much of it takes place in a primitive cottage. In kinda reminded me of the likewise excellent Runnaway Train. Great entertaining thriller with a serious edge.

eucalyptus9 After watching so many bad or mediocre movies lately, it was a pleasure to watch Zero Kelvin. I thought that the film worked on many levels -the disparity of the soft urbanite lifestyle to that of harsh, wilderness survival, the difficulties of human relationships in close proximity, the varying philosophies of love and intimacy. The film contained soft polemics about love, bitter misogynist tirades, and brutality tempered with affection tempered with harsh reality.I first saw Stellan Skarsgard in "Breaking the Waves" and thought he was excellent. Then I caught in him a few ho-hum movies, and thought, yeah , just another B-grade actor. But it seems this kind of movie is his forte, he was great, as were the other two actors.Excellent film.

artistico7 As usual, I went to see this movie having heard nothing of it, which normally works best since then I am able to see it on its own premises rather than being affected by reviews or previews, and even so I was quite surprised.This film is nothing less than a well-played, well-shot psychological action/drama/thriller, and what's more, a Norwegian one even. Everything is highly believable, and the psychological development of the main character is a bit reminiscent of Espen Arnakke in Aksel Sandemose's Misery Harbour.In "Misery Harbour", however, it is a development you are made aware of and pointed to look for, whereas in "Kjærlighetens Kjøtere", it gradually dawns on you what you are seeing, which makes this a much more powerful psychological narrative.All in all, this is a rare pearl of ice, a gem of filmmaking that should not be left in its oyster, but held up to the light to be viewed in all its beauty by everyone who enjoy good movies.