Flies on the Wall (Fluerne på væggen, 2005)

Director: Åke Sandgren

2007 European Union Film Festival


By Marilyn Ferdinand

My Larsen (Trine Dyrholm) is a fictional documentary filmmaker who joins another fictional amateur filmmaker, Arne Thorsen (Kurt Ravn), and director Åke Sandgren in shooting what we identify as Flies on the Wall. The concept of films within a film and the plural title are the conceits around which Sandgren builds a tale of political intrigue in which, by definition, things are not what they seem.

The film starts in a police station in which the shadowy figure of a woman is standing with her back to us in an interview room. A detective comes into the main squad room and says that she won’t talk until they view a CD he has in his hand. He and two of his colleagues gather around a computer. He loads the CD, and they begin to watch a film that is a personal diary My has begun to discover her own truth. She has interviewed friends and ex-lovers, always with her camera running, about herself. We learn that My is a taker who keeps emotional engagement at a distance.

Into this personal meditation comes Peter (Henrik Prip), a former boyfriend who is a PR executive for Denmark’s Liberal Party. He asks her to profile a Liberal district, warning her that the mayor, Svend Balder (Lars Brygmann), will assume that the film is about him and try to control her actions. My does not hold with the Liberal agenda, but she is persuaded because Peter promises her total autonomy, a chance to expose the Liberals if that is what she wishes.

At first, My is treated with efficient deference by Balder’s staff, but the mayor dodges her attempts to speak with him. She finally catches up with him and three of his aides and follows them into a men’s locker room. They are preparing to take a dry sauna and jokingly suggest that if she wants to film them, she’ll have to join them. She strips and follows them into the sauna; only Balder stays in the sauna with her. He finally agrees to be completely accessible to her.

Flies%202.jpgMy, of course, does not expect him to be as transparent as he claims he will be. She plants cameras and microphones in his office and slowly unravels a secret. Balder and Arne, who has lost his personal life during his long service to Balder, have taken money promised for a beachfront development to benefit the city and used it to speculate in Asian investments. Their investments have been profitable, and proceeds were plowed back into the town’s schools, but not the beachfront project.

Arne invites My to his home. He used to fish and hunt with bow and arrow, but now concentrates on making film. He rigs a small camera on his chest so he can have his hands free to do other things. He shows her one of the fishing trips he filmed. He’s patient. That’s obvious. He has given up everything to rise with Balder. He suspects My may foul Balder’s future. Balder, however, feels Arne is a bigger risk, and fires him, promising to rehabilitate his career after a suitable amount of time has passed.

Flies%205%20edit.JPGIn fact, My begins an affair with the married mayor. What started as a cynical attempt to gain his confidence becomes a true love affair. When she is given documents that would incriminate him in the funds scandal, she holds onto them. Balder, out of love for My, decides to come clean about everything. This is certainly not something we expect from crooked politicians. Could love really be so powerful? Will we have a happy ending?

The answers to these questions hinge to some extent on what Balder tells My after one of their intimate meetings. He says honesty and truth are not necessarily the same. This we know instinctively to be true because we don’t all have access to the same information. The various points of view Sandgren sets up in this film—My’s, Arne’s, and his own—show clearly how people can be dupes while thinking they are deeply in the know. The modern world is one of artifice and shallow digging, well represented by My’s character. Once she becomes emotionally involved in her life, she truly sees how much she has missed, not only in terms of personal fulfillment, but also in how she interprets the world around her.

The film builds into an exciting thriller reminiscent of Silkwood. I had a little trouble with the bouncy handheld camera work, but overall, Sandgren uses the different looks of all the cameras he employs in telling this tale to great effect—not giving us easy information by clearly identifying whose version of the truth we are seeing. If this calculated confusion frustrates one at first, sticking with it reaps great rewards.

We live in time when surveillance and information are everywhere. As human beings, however, we’ve become less sophisticated about processing it. Just spend some time on a discussion board or in a chat room and find out how much we miss by not seeing the people with whom we are speaking. Flies on the Wall illuminates the confusion of our three-card monty world of enormous cynicism and even greater naivete. l

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