Mifune is the third instalment to Dogme’95, a rigid film movement set up by a Danish frat-pack who had filmmakers sign a “vow of chastity” prohibiting them from using bourgeoise luxuries and “directorial touches” like props, nondiegetic sound/effects and genre pieces. Following on from Thomas Vinterberg’s quintessentially dark Danish drama Festen and enfant terrible Lars von Trier’s gratuitous The Idiots, stripped of a directing credit, Søren Kragh-Jacobsen’s Mifune is a lighter, considerably commercial film in the Dogme universe. An unadorned, kooky take on the classic Hollywood rom-com adage.
After consummating the vows on the night of his wedding, lustful Copenhagen yuppie Kresten (Anders Bertholesen) gets an unexpected wakeup call with news that his estranged father has died. Previously claiming he had no family, Kresten is forced by his father’s untimely death to abandon his bride Claire and return to the dilapidated farm of his youth and his hermitic, severely autistic brother Rud (Jesper Asholt).
With the first third playing out like a more bittersweet Danish equivalent to Barry Levinson’s Rain Man, Mifune goes all a bit Pretty Woman when Kresten, unbeknownst to him, hires former prostitute Liva (Iben Hjejle) as the live-in housekeeper and nanny for UFO-obsessed Rud. With these three characters all living under the same rotting roof, it doesn’t take long for unrequited romance to blossom and friction to rise to the surface.
Filmed over a brief ten days, it’s remarkable how Kragh-Jacobsen has been able to produce some fantastic performances in Mifune. Asholt embodies the fragile character Rud with delicate perspicacity, whilst Hjejle enchants as the rational and moralistic ex-hooker.
Most impressive of all is that, even when bound to the written code of conduct, this third Dogme film is that it doesn’t feel dogmatic at all. Kragh-Jacobsen’s enforced minimal style feels intrinsic to the thematically austere story. The result is an impressive example of thrifty, barebones storytelling, but one that is ultimately forgettable as soon as the makeshift credits swipe across the screen.