"Gnade" or "mercy" is a German movie from 3 years ago and the main characters are played by Birgit Minichmayr and Jürgen Vogel. Director Matthias Glasner and Vogel have worked on several projects in the past already, such as "Der freie Wille", in which Vogel's character is the one committing the crime. Here it is Minichmayr's character. And that movie is also very long, even longer than their collaboration here which still almost reaches the 135-minute mark. The screenplay comes from Kim Fupz Aakeson and was translated by Ulla Bay Kronenberger, who also worked on "The Door" for example. The consequence of Aakeson's involvement is that the is not only a Norwegian co-production, but includes a cast and crew that comes from Norway for the most part.The story is about a couple with a son and their marriage is really struggling. They left Germany for Norway and have (or have not) adapted to the lifestyle there in their very own ways. The woman is liked by her colleague and sacrifices her free time for overtime at the job, while her husband defines his way of integration by having an affair with a Norwegian woman. A tragic car accident changes everything for the two and actually lets them bond again and grow closer again. This film received a fair share of awards recognition, especially for lead actress and for the stunning cinematography in the Norwegian winter.I personally really liked Minichmayr and Vogel in here. I have not been too big on other Minichmayr performances, but she did win me over here somehow. A very authentic portrayal. The whole film is slow-moving and bleak, which is certainly not for everybody. But it is for me. Unfortunately, I cannot say I liked the ending too much. In my opinion, their choice of confessing the accident to the girls' parents wasn't a logical or reasonable development I expected. And honestly, the shots at the very end, after that confession had a fairly pretentious note to them and left a sour aftertaste after all the really good execution from the over 90 minutes hours before. I will agree that you could probably cut a couple less significant scenes and keep this film at 105 minutes, but it's also fine the way it actually turned out. It's not really dragging too much. As a whole, I enjoyed the watch and I recommend it.

Life is full of decisions we regret. So while the inciting incident in this case seems a bit stretched (considering who was involved and what the person did after it, held up against the job said character has and what that person is generally doing), it is only human. As is error of course and therefor this should be something you should be able to understand.The movie does not take the usual path in some cases (relationship between Vogels character and his wife and others who are interacting with those two) and you may feel a little but cheated in some situations. Overall the drama is not amplified or enhanced whatever the cost may be. You'll either find that a good strategy or weak. The location is a very big part of it all and it plays into the living and everything else in the movie. A drama that is more subtle that you might think, with great performances

German screenwriter, producer and director Matthias Glasner's seventh feature film which he co-produced and which was written by Danish screenwriter Kim Fupz Aakeson, premiered In competition at the 62nd Berlin International Film Festival in 2012, was shot on location in Hammerfest, Norway and is a Germany-Norway co-production which was produced by German producer Andreas Born and Norwegian producer Kristine Knudsen. It tells the story about a married couple named Niels and Maria who has emigrated with their son named Markus from Kiel, Germany to Hammerfest, Norway where they have bought a farm by the coast and Niels has gotten a job at a gas plant, Maria as a nurse at a hospital and Markus has begun at a new school. Whilst they are all in the process of learning the Norwegian language, Niels and Maria works on their marriage and Markus befriends a boy in his class, but one night when Maria is on her way home from the hospital she hits someone with her car.Distinctly and subtly directed by European filmmaker Matthias Glasner who made a lasting impression with his fifth feature film "The Free Will" (2006) six years ago, this quietly paced fictional tale which is narrated from multiple viewpoints, draws a tangible and engaging portrayal of a German man who has become friendly with a colleague named Linda, his spouse who sings in the local choir and listens attentively to her pregnant boss named Wenche and how their relationship suddenly bursts to life after they decide to keep a severe secret to themselves. While notable for its naturalistic and atmospheric milieu depictions, sterling cinematography by Polish-German cinematographer Jacub Bejnarowich, production design by production designer Claus-Rudolf Amler and use of light, this character-driven and narrative-driven story where the prominent Arctic surroundings is a character in itself which effects the main characters and where the heart of the story revolves around a 16-year-old girl named Mette, depicts several incisive studies of character and contains a great score by Homesweethome.This conversational, modestly romantic, at times humorous, psychological and internal character piece which is set during a winter in a somewhat isolated community inhabited by considerate people in Northern Norway where a son gets himself into a similar situation as his parents at school and his mother has a consequential encounter with the Northern Light, is impelled and reinforced by its cogent narrative structure, substantial character development, subtle continuity, use of music, moral meaningfulness, mysterious undertones, graceful and humane aura and the reverent and involving acting performances by German actor Jürgen Vogel, German actress Birgit Minichmayr, Norwegian actress Ane Dahl Torp, Norwegian actress and singer Iren Reppen and Norwegian actor Stig Henrik Hoff. An acutely reflective, sociological and virtuous drama and a long sought after and appreciated representation of Northern Norway which is not too often depicted in contemporary cinema.

European (or at least German) cinema isn't exactly known for its genre blockbusters. Most of it are silly comedies or dead-serious dramas, often historical. These usually come across (to me) as pretentious and unauthentic, screaming to be taken seriously while mostly failing at visual storytelling.This movie seemed to fit right into that category. Surprisingly, it doesn't. While there were some moments in the movie where I thought it was a bit constructed, it felt very honest overall. It takes itself serious, but also its audience and medium. It is real cinema, gripping and atmospheric, but also not over-styled. Desipite it's substance matter it's not a talking-heads movie, but knows when to let the visuals and music talk for themselves.If you have seen the trailer, you probably already know a bit too much. On the other hand, the movie really isn't about any plot-twists or spectacular effects, and it thankfully avoids those and other clichés completely. It should be noted that it is rather slow-paced, and some plot-points are left open, but that's very likely all deliberate and very fitting. The only real complaint I have is the jarring Apple product placement. That was so out of place I wanted to throw up.One more thing: Note that the title is "Mercy". Some critics talk about forgiveness in relation to the story, but without spoiling anything, that is precisely NOT what it is about.