Before its screening at this year’s Toronto International Film Festival, writer/director Tea Lindeburg introduced her new film as an act of love that was inspired by a novel she read in the early stages of motherhood. After completing the Danish book A Night of Death (En Dødsnat), written in 1912 by author Marie Bregendahl and based on her childhood growing up in the 1880s, Lindeburg immediately knew that she needed to turn the book into a film. The result is As in Heaven, a visually spellbinding tale of blind faith that, despite taking place in the 19th-Century, still rings true to contemporary situations today.
As in Heaven is set in a working class farming community in rural Denmark. Lise (Flora Ofelia Hofmann Lindahl) is a young, independent woman who has her sights set on leaving the farm and attending school, much to her mother’s pride. Making the most of the time she has left at home, Lise embraces the responsibility of caring for her younger brothers and sisters to assist her heavily pregnant mother. This quality time with her siblings offers her the chance to reflect on her life, and what she wants out of it.
The times, being what they are–religious dogma and superstition being almost as interchangeable as truth–Lise’s mother and housekeeper decide to forgo necessary prenatal care because they trust in superstitions over medicine. This confuses Lise, who feels conflicted between trusting that God will protect her mother and knowing that intervening with doctors and medical assistance is necessary for her mother’s survival. Falling into a spiral of questioning everything she thought she knew, Lise’s life plans–once promising and optimistic–are becoming less clear.
As in Heaven looks as if it could take place in the same universe as Robert Eggers’s The VVitch. Both films have a similar spiritual theme and full of rich and organic visuals. The film grain quality of Lindeburg’s piece gives it a texture that looks as if a painting on canvas has come to life. Set to a hauntingly dark score by award-winning musician/poet/writer Kristian Leth, As in Heaven is both intellectually and aesthetically engaging.
At its core, As in Heaven is a cautionary tale about the dangers of misinformation and, to a certain extent, religion. Devout believers live with a blatant acceptance that anything that happens to them is because of “God’s Plan,” no intervening is necessary because whatever will be, will be. That passive approach to life is not one that our protagonist chooses to live by, and I don’t blame her. Lise’s doubts may reflect most of the audience’s feelings, but Lindeburg makes sure to not create a distinction between good versus bad, and right versus wrong. With this in mind, and at the end of her introductory message, she left the audience with a simple request, “Filmmaker’s note: handle with care.”
