Bron/Broen El puente (2011)

seen from China
seen from Singapore
seen from United States
seen from United States
seen from United Kingdom
seen from United States
seen from United States

seen from Germany

seen from United States
seen from China
seen from United States

seen from Germany

seen from United States

seen from Mexico
seen from Germany

seen from United States

seen from United States

seen from United States

seen from France
seen from Netherlands
Bron/Broen El puente (2011)

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this video of thure filling in his own name for a crossword is 😭🥹
Daniel Brühl, August Diehl, and Thure Lindhardt at the 2004 Berlinale for the German film, Love in Thoughts. 📸 Berlinale Archives
The fact that Thure Lindhardt will be 50 this year is so weird
thure lindhardt as peter levin in hammarskjöld (2023)

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thure lindhardt as henrik sabroe in bron | broen 3x10
that time when an interviewer asked Thure Lindhardt if Mads Mikkelsen was his idea of a perfect man and Thure went, "I respect him too much to talk like that but also he's too old for me."
On second thought: Keep the Lights on (dir. Ira Sachs, 2012)
When I saw this film a decade ago, it fucked me up. I saw connections between the story of addiction and my recent relationship with a guy who used to be addicted to. It was shortly before I started therapy and still not so long after I entered another longer relationship with someone that I saw this film with for the first time. Seeing it recently, I was mesmerized at how physically similar Booth's character now seemed to my second ex, which I somehow never thought of while watching this film with his face next to mine. Not only that, Booth is great here at performing the sudden pangs of frosty detachment that his character does when not wanting to engage with his partner's needs. In the midst of all that, there's Lindhardt's protagonist, Sachs's alter ego that I kept trying to distance myself from, probably every time I saw this film. It's a painful story of emotional growth, of being vulnerable enough to embrace the prospect of being in a long-term relationship with someone who is hurtful and lacks empathy. That's one layer. Another one, of which I forget only occasionally, when feeling suffocated by the rawness of the on-screen relationship, is a fascinatingly rich entry into a queer archive of New York's art scene (punctuated, extradiegetically, with Russell's beautiful score), as well as a story of the laborious beginnings of one's budding film career. My only complaint about this film is that it tries to do so much within a scarce running time: while Sachs is a skilled storyteller, the relational poignancy that his protagonist experiences may have needed more minutes to reverberate more fully. But anyway, it's one of the most important films in my life.