SpuffyWeb
Sadly Over-hyped
Nayan Gough
A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.
Edwin
The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.
jsrobinson132
When I first read the synopsis for this film in the movie guide, I was intrigued but sceptical, wondering how something this profound could even be possible: "A year after Johan accidentally killed Anna's daughter, they meet in a Stockholm East train station. She doesn't recognise him and the two begin a passionate relationship built on solace." Yet as the storyline unfolded, I could feel myself empathising with the main characters. Anna and Johan would quite probably never have met in normal circumstances but because of a split second moment in time neither of them should ever have had to experience – an event neither of them had any control over – their destinies were already intensely linked. I could sympathise with Anna's lies – the only way to keep harsh reality from her door and that dream alive after her husband's refusal to speak of what happened – and understand Johan's silence after her first revelation – that overwhelming desire to be there and somehow make it up to her when anyone else in his position would have run the other way. I found myself walking in their shoes over and over again and could fully understand why they felt drawn to one another – and why such a scenario was even possible. The dialogue at both the beginning and the end was a delightful silhouette of Johan's thoughts whilst he was processing that dreadful guilt. Watching it unfold, I found the chemistry between them was almost tangible and being a true romantic and a published writer of contemporary women's novels based along similar tragic story lines, I found my heart crying out for them both during those two separate monumental choices each was faced with towards the end of the film. I thought it was a gentle film showing two people with deep-seated hurts finding solace in a tender friendship that took them down a road to love and eventual healing. I could only ever rate it as a 10 after coming away with an ache in my heart and a deep-seated satisfaction in my soul.
Bene Cumb
Films with intrigues related to death and passion usually enable character actors/actresses to show their talent in full - even if the plot leaves to be desired. This is also the case here, with Stockholm Östra, where Mikael Persbrandt and Iben Hjejle, above all, give convincing and profound performances. The script, however, has questionable moments, even when considering the events happening in modern world with Internet and yellow press included; behaviours of characters are logical, but expected, paving the way for trivial ending. General mood is oppressive and hectic, thus the film is not for everyone, but those fond of Persbrandt and Hjejle do not feel disappointed, although their roles here are not among the best ones.
