The Last Viking

Anders Thomas Jensen doesn’t make films; he builds meticulously crafted, tonally volatile explosive devices disguised as character studies. Den sidste viking is no exception, representing both a trium... Anders Thomas Jensen doesn’t make films; he builds meticulously crafted, tonally volatile explosive devices disguised as character studies. Den sidste viking is no exception, representing both a triumphant return to form and a deepening of the writer/director’s singular obsessions. It is a film that seamlessly stitches together gut-punch drama with absurdist comedy, resulting in a work that is as emotionally resonant as it is unpredictably hilarious. At the core of The Last Viking are dad issues and the lingering scars of childhood that shape entire lives—a theme Jensen has mined before, but here it's rendered with unflinching clarity. Absurdity ramps up in live-action as Anker (Nikolaj Lie Kaas), fresh out of prison for robbery, reunites with his brother Manfred (Mads Mikkelsen), who was entrusted with hiding the loot but now suffers from dissociative identity disorder (DID). Their fractured, toxic, yet undeniable bond is the bruised heart of the film. Jensen’s classic formula is perfected here. The film operates in a world just a tilt to the left of our own, where profound human tragedy collides with the utterly ridiculous. One moment you’re grappling with the deep-seated scars of childhood neglect, the next you’re witnessing a surreal, slow-motion Viking daydream or a bizarre domestic dispute involving ancient weaponry. This balancing act is Jensen’s masterstroke. Jensen brilliantly externalizes this inner turmoil through a striking animated Viking fable that weaves through the narrative. This isn’t mere decoration; it’s the son’s psyche rendered in myth. The cartoon saga of heroes and monsters becomes a direct, tragic metaphor for his longing for a fearless father and his own battle with deep-seated terror. The fable’s heroic fantasy brutally contrasts with their grim reality, making the emotional payoff all the more powerful. Furthermore, Jensen makes this fable literal in the film's most poignant subplot: the relationship between the "ugly" man and his beautiful wife. The weird couple—the grotesquely burned man and the beautiful woman—becomes the fable’s living embodiment. At first, their relationship appears unbalanced, almost grotesque itself, defined by contrast and surface value. But when the woman loses her beauty, their bond doesn’t collapse—it clarifies. Stripped of illusion, their relationship grows stronger, more equal, and more brutally honest. In metaphorical terms, they step fully inside the logic of the animated fable: only when the fairy-tale promise of beauty is destroyed can something real survive. Seen this way, the couple completes the fable’s lesson. The genius twist? Jensen then doubles the fun—and the thematic depth—by unleashing a band of eccentric psychiatric patients onto the protagonists' path. These “lunatics,” each delightfully unhinged, act as a funhouse mirror to the main characters' own fixations. Their chaotic escape provides riotous, unpredictable comedy, while slyly asking: who is truly coping worse? Of course, this being Jensen, the path is paved with sudden, brutal violence—both cathartic and grotesque—and dialogue that cuts as deep as any axe. Den sidste viking is a triumph. It’s a profound exploration of paternal failure and inherited fear, wrapped in the riotous, bloody, and absurd package that only Anders Thomas Jensen can deliver. The animated fable elevates it from great drama to modern myth—a punchy, unforgettable film about the monsters we inherit and the heroes we must become to defeat them.