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Moreover, this kind of plea for compassion will always remain relevant. The film’s script, cinematography, sound design and superb acting deliver the story as a thriller with so much suspense and without tacky sentimentality that it convinces nonetheless. Truth be told, this isn’t the first story of enemies unable to keep denying the humanity in each other. As Zandvliet said during the Q&A at tiff, the story of Land of Mine is a simple and predictable one. Land of Mine is another such example and a truly exceptional one.
#UNSERE MÜTTER UNSERE VÄTER SCRIPT SERIES#
Relating to WWII history and the concept of guilt and forgiveness, I’d recommend the film Lore(2012), the Radiolab podcast Nazi Summer Camp, and the television series Unsere Mütter, Unsere Väter (2013). I can give numerous examples of great initiatives that are doing all of this today. These approaches appeal to many more people than academic publications do.
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Public history’s many different formats (exhibitions, novels, films, podcasts, columns, and so on) hold endless possibilities to convey history from creative, fresh and compelling approaches. Land of Mine has convinced me again that public history holds the power to inspire A LOT of people to understand the true and complex nature of history. That is exactly where public history comes in, which brings me to my most important point: Their work, however, does not often reach the general public. Historians constantly show that history is neither black nor white. Or they rewrite history with the appropriate nuance. In fact, many academic historians today are digging up these sorts of unknown stories. And that is, I believe, where humanity lies in reality too – past or present. Instead the film finds humanity in the vast gray zone that lies in between. My objective is to underline the moral importance of Land of Mine as it successfully uses an unknown footnote in history to refute the simplistic juxtaposition of good versus bad. Therefore, my objective is not to go into a discussion about the historical accuracy of every single detail such as costumes and proper Danish accents. (Image: Under Sandet / Land of Mine official Facebook page)Īlthough it is fiction, the story isn’t far fetched at all. The latter is initially set on taking revenge but grows conflicted when he can no longer deny the humanity and vulnerability of the boys. Inspired by these facts, Zandvliet wrote a fictive story about a group of German POW’s, most of them in their teens, and their Danish overseer. Nearly half of the often teenage German soldiers that had to defuse over 1.5 million landmines from Danish beaches were killed or severely wounded. The fate of German soldiers who were spread out over many countries in the immediate aftermath of the war is a widely untold footnote of WWII history. – So yes, I recommend that you all go see it when it comes out in a few months.Īs tiff’s synopsis reads, Land of Mine is a “based-on-fact war drama, a group of German POW’s are put to work by the Allies defusing their own landmines on the west coast of Denmark in the immediate aftermath of World War II.” Most importantly, it does so in a compelling way that convinces the audience of the true nature of history which is too complex to be either black or white. But this particular WWII film has proven that history can always deliver new stories worth knowing – be it one that has never been written or one told from a fresh approach. This Danish/German film by director Martin Zandvliet might have been yet another WWII story that we all seem to know so well. Tonight I saw Land of Mine(original title: Under Sandet), the first film I have seen at the 2015 Toronto International Film Festival (tiff).