In Your Hands review

The Danish Dogma movement caused a sensation when it began with a bang in the mid-90s with films that became causes celebres such as Lars Von Trier's Idiots and Thomas Vinterburg's Festen. Ten years later technology has lessened the impact of the movement: after all anyone with a digital camera and a desktop editing suite at home can make a film along the lines set out in the original manifesto, with no artificial lights or special effects. As a result the movement seems to be limping into obscurity, and the latest film to be granted a certificate demonstrates that regardless of how a film is made, it still requires something more than just belonging to a particular credo in order to be successful.

A sombre tale of love and desperation set in a women's prison, In Your Hands has more that a touch of Prisoner Cell Block H about it. Cropped-haired prisoners deal drugs, fight each other and either fall in love with their guards or abuse them. Into this harsh environment comes a novice priest named Anna (Ann Jorgensen), a bright eyed and liberal vicar who has only the best intentions for her flock. But as a prison chaplain with a barely interested parish it's tough going. Anna's frustration in her job is mirrored in her personal life by her unsuccessful attempts to become pregnant by her devoted husband.

The atmosphere in the prison changes when a new prisoner named Kate (Trine Dyrholm) arrives. Kate is something of a mystery to the other prisoners who speculate wildly on her crime. A bunker mentality grows when Kate appears to use special powers. She cures one of her fellow inmates of her drug addiction simply by laying her hands on her, and Anna suddenly becomes pregnant. Kate's power is such that one of the prison guards falls in love with her, and when Anna finds out the disastrous news that her baby may be born with a defect, she is driven to seeking Kate's help, thus going against any religious doctrine she may have picked up in the seminary.

Ann Jorgensen gives her priest a sexy, modern feel and is the shining light in a generally well-acted affair. The film does have some nice details, such as her husband's delight at what he calls 'priest sex', and Kate's unusual excursions with her guard.

Nevertheless, this is resolutely feelbad stuff, and tackles spiritual and human issues with an over-earnest touch. And although it may well conform to the rules of Dogma they seem almost redundant here. The semi-improvised feel of the script and plot veers into melodrama on several occasions, and as a result it's likely only to be remembered as a very minor part of a briefly glorious but now fading movement.