The Promised Land - Film Review

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Directed by Nikolaj Arcel and starring Mads Mikkelsen, Amanda Collin, Simon Bennebjerg, Melina Hagberg, Kristine Kujath Thorp and Gustav Lindh, The Promised Land is set in 1755. An impoverished Captain Ludvig Kahlen (Mads Mikkelsen) sets out to conquer the harsh, uninhabitable Danish heath where nothing will grow, with a seemingly impossible goal: to build a colony in the name of the King. In exchange, he’ll receive a desperately desired royal title for himself and the spoils that go with it.

Unfortunately, the sole ruler of the area who considers himself Lord and Master, Judge, Jury and Executioner, the merciless Frederik de Schinkel (Simon Bennebjerg), arrogantly believes this land belongs to him. He does everything in his power to drive the captain away, but Kahlen will not be intimidated. This film is Denmark's entry for Best International Feature at the 2024 Oscars and will be in cinemas on 20 June 2024. With a running time of 127 mins, it's rated MA 15+


Whenever Mads Mikkelsen is in a film, I say - "Run, don't walk." He has proven time and again, his formidable presence on screen. Almost like an old western, this is Denmark 18th Century. A line of Kings in the hope of increasing their wealth, have tried to lure settlers to the vast Heath of Jutland to tame it, so it would attract more settlers. However the elements are brutal, the soil barren, and the lands plagued by outlaws. For decades, all who venture there have failed miserably. The heath cannot be tamed.

Copenhagen 1755. After 25 years of service in the German army, in the Poorhouse for Veterans sits Captain Kahlen, polishing his medal with precision. Dressed for a visit to the Royal Treasury in his worn uniform, medal on his chest, he catches a glimpse of the back of the king, while waiting to show his ambitious plans for the heath to the High Chancellor. His plans are declined as the Treasury has no wish to spend more money on a proven failed venture where nothing will grow. The captain insists on showing his proposal to the king himself and mentions he will fund the venture himself with his pension. This buys him a second consideration. Behind closed doors, the powers that be decide, as long as the captain is out there at no cost to themselves, they can tell His Majesty they haven't given up on his beloved heath, and grant Ludvig permission. In return, upon his success, he extracts a promise for a noble title, an estate manor and servants, which is agreed to easily, as success is not expected.


This epic film is jam-packed with subjects and situations developed over time, giving the audience the space to emotionally connect with its characters. Ludvig is as stoic as the land is tough. Upon landing at the heath, the only help Ludvig gets is from a young pastor (Anton Eklund) who brings him two runaway tenant farmers, husband and wife Joannes (Morten Hee Andersen) and Ann Barbara (Amanda Collin). That's until a Tatar band of Romani travellers send in young Anmai Mus (Melina Hagberg) to steal livestock from him. He sets a trap for her, then takes her back to her clan, offering them work. They're not actually allowed to work and are considered bad luck, coupled with racial prejudice for those like Anmai Mus, demonised for their dark skin.

In between the harsh reality of cultivating a barren land, fighting the natural elements, surviving trauma after trauma, wrapped in the resilience of the human spirit, the cruelty of Frederik de Schinkel looms large, as the main battle throughout, between good and evil. As much as you'd like to kick Frederik where the sun don't shine, the constant interplay between Ludvig and Schinkel creates a satisfying story that fleshes out the darkest depths of the human psyche. Every other character also possesses a distinct characterisation in their interaction with our protagonist, thus adding to the film's dramatic fullness. With subplots aplenty there's much to keep the audience engaged, along with Ludvig's character development - gradually softening as he gains a makeshift family, and shown only through the tiniest change of expression. A masterclass in less is more. An epic story filled with heart and heartlessness, it's a satisfying watch.





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