Danish filmmaker Christoffer Boe makes his feature debut with the psychological romantic drama Reconstruction. Set in Copenhagen during a 24-hour period, narrator August (Krister Henriksson) works on his novel while his wife, Aimee (Maria Bonnevie), has a one-night stand with photographer Alex (Nikolaj Lie Kaas). The next morning, Alex appears to have lost touch with his surroundings as his friends, family, and girlfriend Simone (also played by Bonnevie) treat him like a stranger. Reconstruction won the Camera d'Or at the 2003 Cannes Film Festival. ~ Andrea LeVasseur, RoviIt definitely is a unique film when the category given above is "psychological romantic drama". I am not sure what it was suppose to "Reconstruct" as Alex tries to piece some of his random thoughts together. If the whole world looks strange then perhaps it is first person that is mistaking fantasy for reality. I kept thinking that Alex was going to suddenly come to grips with his reality but ultimately in the end Aimee just disappears and along with the plot lines with the writer and his cheating wife.
Theatrical Feature Running Time: 93 mins
Strangely even his apartment is no longer there, although I wonder then how he gets to change his clothes in the movie. Sadly though the movie just lacks story depth as we never get a good grasp of what the purpose of Alex's life or just the random writings of August.
Reconstruction (2003 film) - Wikipedia, the free encyclopediaShootingI noticed that a lot of the scenes film stock showed an inordinate amount of color picture grain. It was not distracting to the plot line or the quality of the film but from my camera experiences it definitely jumped out at me.
The film was shot almost entirely in available light. Using available lighting is not merely stylistic. It may come as no surprise, but Boe doesn't work with storyboards or set schedules. He likes to run and gun.
They shot Super 16 on an Arri SR3 using three different stocks. Then the film was scanned, color-graded, and digitally masked to CinemaScope. The scan was a simple one-light, and the team did no color correction, the opposite of today's trend to perform a digital intermediate. They also pushed the emulsion for extra grain.