Corporations may be showing it to employees as a resource on how to respond during such crises, but Kapringen's master stroke - is the revelation of an impasse between the moral versus the practical. It's not for nothing that Lindholm went through great lengths to replicate an uncomfortable, pressing scenario because the film offers reflection on an overlooked form of terrorism. Unmanipulated (or to be PC about words, "seemingly so"), you resonate with the film's fabric of reality while searching for something more, and in the process, gain access into psychological domains that underpin both Peter and Mikkel. Arguably, mechanical reproduction of genuine conditions doesn't guarantee a convincing film but in this case, it does - Kapringen looks so suitably stained with normality that one instantly recognizes the absence of gimmicky aesthetics. Casting also features a real life hostage negotiator as the central figure and naturally, Somali pirates. In keeping with Lindholm's debut feature (a prison drama "R") Kapringen is filmed on location, in chronological sequence and on board a sea freighter that was hijacked in the Indian ocean.
REDDIT PIRACY MOVIE
I can't think of any movie in which I have wanted so much to resist and cease watching, yet fail to do so because it has a quality so raw, unsympathetic and intuitive.
And so negotiations play out in silence like a sociopathic Fischer-Spassky game: cold, calculated, unyielding. But back in Copenhagen, CEO of the shipping company Peter (Søren Malling) learns that gaining the upper hand demands patience. A translator for the pirates issues demand for $15M in exchange for release. Among the eight men crew taken hostage is Mikkel (Pilou Asbæk), the ship's cook. A cargo ship MV Rozen is hijacked by Somali pirates in the Indian Ocean. The refusal to include actual scenes of the hijacking in a film specifically titled "A Hijacking" is no accident. And because it cuts through all the fluff and artifice that has invaded commercial films without compromising momentum as a situationist thriller, one must concede that Kapringen has upped the ante on Danish rebellion against the Hollywood system. For his second directorial feature, Tobias Lindholm (co-writer of Jagten) delivers the kind of indifferent, matter-of-fact realism not experienced since the early days of Dogme 95.
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