The greatest movie ever!

Disturbing yet enthralling

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.

First of all i am a jehovah's witnesses, and very proud of it, second this movie protrays jw's in a very negative light its making the outsiders think like we are cruel and evil people this is the reason why us jw's dont want to see things like this and this story is coming from an ex jw who is still bitter till this day it will be a matter of time before an ex jw will like the movie, even if its not accurate!!

Danish screenwriter and director Niels Arden Oplev's fourth feature film which he co-wrote with screenwriter Steen Bille, is inspired by a newspaper article about a girl who was raised in a family who were members of a movement called Jehovah's Witnesses. It was screened in the Generations section at the 58th Berlin International Film Festival in 2008, in the Discovery section at the 8th Tribeca Film Festival in 2008 and is a Danish production which was shot on location in Denmark and produced by Danish producer Thomas Heinesen. It tells the story about Sara, a 17-year-old girl who discovers a new world after meeting a man named Teis who unlike her family is not part of a religious sect. Precisely and engagingly directed by Danish filmmaker Niels Arden Oplev, this finely paced fictional tale which is narrated from multiple viewpoints, draws a gripping and intimate portrayal of a young woman's relationship with her brother who has been banned by his parents for choosing to not follow their doctrines and a man who values love more than religion. While notable for it's naturalistic milieu depictions and the fine cinematography by Danish cinematographer Lars Vestergaard, this character-driven and narrative-driven love-story which is based on real events, depicts a poignant study of character and contains a great score by Danish composers Jens Bjørnkjær and Jacob Groth. This instantly involving, romantic and heartrending coming-of-age story about a courageous person who is forced by the ones she holds dearest to make a choice that no one in this world should have to make, examines themes like family relations, ostracism and fundamentalism and is impelled and reinforced by it's cogent narrative structure, substantial character development, abrupt editing, colorful characters and the commendable acting performances by Danish actresses Rosalinde Mynster, Sarah Boberg, Sara Juel Werner and Danish actors Jens Jørn Spottag, Anders W. Berthelsen and Pilou Asbæk in his debut feature film role. An authentic, incisive and reverent drama.

I read about this movie and thought it seemed interesting, but it still far exceeded my expectations. Inspired by a true story, "Worlds Apart" is a superior drama that delves into one of the world's most intriguing religious groups and the universal theme of divided loyalty.17-year old Sara Dahl (Rosalinde Mynster) is a beautiful but somewhat introverted student who lives in a small Danish town with her parents, Andreas (Jens Jørn Spottag) and Karen (Sarah Boberg), and her younger siblings, Elisabeth (Sarah Juel Werner) and August (Jacob Ottensten). All are active Jehovah's Witnesses. Early on, Andreas confesses that he has committed adultery. Karen decides to divorce him, but because he is repentant, the children oppose the divorce and decide that Karen should be the one to move out, which she is.Shortly afterward, Sara and her friend Thea (Catrine Beck) attend a party in which Sara meets a 23-year old musician named Teis (Johan Philip Asbæk). She falls for him, but becomes very drunk. Teis walks her home and the two stay in touch.They soon get together again and while walking through a mall, Sara is approached by a young man revealed to be her older brother, Jonas (Thomas Knuth-Winterfeldt). The two have a brief and curiously awkward conversation. After Jonas leaves, Sara explains that Jonas was expelled from the JW organization because of reading an improper book and therefore is to be shunned by his family. Sara adds that she only spoke to Jonas because Teis was there. Teis, who is non-religious, quickly becomes hostile toward Sara about the JW belief that only JWs are saved.Teis finds Sara at school shortly afterward and apologizes for criticizing her faith. The two steadily grow closer and one night at a café, Sara loses track of time and misses her train. She spends the night at Teis' apartment where the two sleep in the same bed and kiss but don't have sex or even undress.Still, Andreas is very upset and takes her to see the church elders, all of whom are middle aged men. Seemingly led by a man named John (Anders W. Berthelsen), she is questioned about Teis, including whether he touched her breasts or not. The movie doesn't show that act, but Sara says that it happened. The elders do accept her claim that the two didn't have sex and allow her to remain in the organization, but order her to end her relationship with Teis through a letter.She does so but feels bad about it, especially after learning that Teis has called her several times since receiving the letter but that her family hasn't told her. She asks Andreas for permission to talk to Teis in person. Andreas reluctantly agrees and shortly after Sara visits Teis, he surprises everyone by attending a service at Sara's church. Andreas and John are suspicious and John offers to refer Teis to another JW church. But Teis insists that he wants to hear about God the same way that Sara does. John reluctantly accepts that and gives Sara permission to see Teis provided the two don't have sex.Teis' faith initially appears to be sincere and Sara's grows as well. She quits school (seemingly some kind of post-high school institution) to become a pioneer (door-to-door missionary). But right after a large JW convention, Teis and Sara have sex for the first time. From there, Sara's faith steadily fades.Sara says that she's moving in with Karen but actually moves in with Teis. Karen covers for Sara and also secretly sees Jonas. Teis introduces Sara to his non-religious parents, Vagn (Hans Henrik Voetmann) and Jette (Charlotte Fich). Vagn treats Sara cordially but Jette spews out a long list of anti-JW comments. Sara and Teis leave and Teis seems embarrassed by his mother's behavior but reveals to Sara that he's concluded that he doesn't believe in God after all.Eventually, Sara's façade falls apart. Elisabeth, while visiting Karen, notices that no clothes are in Sara's supposed closets. That leads to Sara being given an ultimatum from the elders – leave Teis or be expelled.I won't reveal her decision but I will say that my only significant criticism of the movie is that a character dies because of refusing a blood transfusion. That strikes me as a forced attempt to emphasize one of the most distinctive parts of JW doctrine. However, that character's funeral is very powerfully used to set up a hard hitting climax.This is one of my three favorite foreign movies, along with "Noi" ("Nói albínói") from Iceland and "Kissed by Winter" ("Vinterkyss") from Norway – what is it about the Nordics?! The performances in "Worlds Apart" are outstanding, the screenplay is very compelling, and there's plenty of great scenery for anyone who appreciates small town Denmark, as I do.JWs are widely ridiculed and dismissed as being brainwashed. But despite coming from one of the most secular countries in the world, this movie is surprisingly balanced in its portrayal of JWs. While their beliefs and tactics are brought into question, the movie portrays JWs as, above all, human beings. None are demonized and all are portrayed as well intentioned and in some cases compassionate, even if misguided. And they even evoke sympathy because of the torment that stems from their dilemma between loving someone – whether romantically or familially – and the fear of going against the teachings of the church and maybe even losing their salvation.I've read dozens of message board postings related to this movie and almost all posters who identify themselves as former JWs describe the movie as very realistic and emotional. And even most with no ties to the JW church can relate to the aforementioned universal theme of divided loyalty.Unrated by the MPAA but very PG-13 level, this is one of those rare movies that I strongly recommend to everyone.

Worlds Apart begins with infidelity, committed by the father but repent by the community. As the mother does not forgive her husband, she has her reasons, the children should decide: she has to leave the house for an apartment (where she secretly sees her expelled son; his sin was reading the wrong books). Centered is the daughter, her father and the community. Saras way out from a sheltered, warm childhood into the cold outside-world starts subtle. Initiated by her fathers adultery, though repent by the community and not accepted by his wife; here Saras thinking begins. Word and action dis-coordinate for the true, passionate believer. Here and not her sinful love for Teis (based on lies and sex, a sin in the everything-seeing eye of Jehova, mediated by her father and the elder) starts off her doubts: the father and not the lover. Even in pre-paradise is a tempting snake. The snake here is Saras friend Thea, eager to tempted, doing something forbidden (internetchatting and disco). Three kinds of young witness Thea speaks off: the unfaithful, the between, the faithful (Thea the between, Sara as the faithful on her way, passing between, to be beyond the unfaithful) Thea backs anxious, realizing that it has gone too far. It is Thea, telling Saras father what happened when the friend is needed. Is Theas accident a scarifying suicide for what she has done by denying blood transfusion, knowing that death is for the higher cause? Saras questions and answers increase in strength – as well her self-thinking and self-deciding, standing her ground when tested by her father (he always tells her that her decision is hers, but he regards it not as a good idea), the community – and society. To be with Teis, against her fathers and the community's wish, Sara 'moves' to her mother (their conversation shows that daughter and mother understand each other, the mother waiting and hoping for this moments), the toothbrush and clothes with Ties, observed by her sister. Two bedrooms in case father and the community make their checks. Lies and two lives. Finally, as her brother, Sara is expelled: the first step done by her father. Sara: "Do not hide behind Jehova. It is your decision". After Theas funeral, Sara appears uninvited, her fathers accusation: that she is selfish, not thinking that she hurts him, her sister and brother. Sara asks: "Do you love me?", he: "Why do you ask, of course I do" and Sara: "Do you love God more than me?" The fathers yes is responded by her: "Why?", followed by his answer: "He has made me. He is the father in heaven, he can give me eternal life." Sara: "Father. I believe this is very selfish of you." And her father: "You can repent and return that we again can be a family". Sara: "Good bye, father." The last scene in a train car, Sara leaves for Copenhagen, where she will train for a teacher, never seeing her family again. And to Jehova: "Jehova, this is the last time we talk to each other. I do not believe in you any more." The Swedish SVT1-anouncement, 2010-05-10 22.00 for To Verderner/Worlds Apart tells The Swedish SVT1-anouncement, 2010-05-10 22.00 for To Verderner tells that Sara has to choose between religion and love. It is not this. It is so much more. Neither religion or love but 'naked' freedom, the strength to be persona non grata, the unwelcome person. For Tabita Broener (Sara) it was painful years journey. What is left behind will always be a companion in daily life, for better or worse. One of the reasons to leave, hardly noticeable, is the subtle tempting danger of spiritual and physical incest. With Lacan: the Third is absent, opening the door for incest. The decision of leaving is always personal. But to go to action, help is needed. Tabita Broeners story was read by the director and co-writer Niels Arden Oplev 2006 in Berlingske Tidende. A journey of many years was movie transformed to a year. The director uses neutral respect, only facts speak, helped by an expelled consult. Generally, wherever political and religious 'sects' are, the same is observed: leaving the warm (incestious) room, you are marked as 'persona non grata'. The lacanian No/m du Père: the empty space of l'ordre symbolique is not empty but occupied by l'ordre imaginaire. Mirrorreflecting to the members what Jehovah, told by the elders, what is wright and what is wrong. The absence of the No/m du Père makes the mentioned incest possible. It is this that is the danger and that Sara falls in love with the disturbing Third, Teis. It does not matter if he sees what Sara sacrifices and should balance. He was just a stepping stone for life outside and is too much the symbol of the past. Not only the community is closed-minded, also Teis parents are insensitive, practice self-righteous hypocrisy. Many members of such communities do not question the base of faith, do not brake out, unsatisfied what they have. Few, as Sara, are consciously hungry for more, without the courage to look for it outside. This is the reason why her brother returns to the fold of the community, telling Sara that he is unable to 'live isolated and lonely' – meaning outside their family. To see the mother and Sara secretly and not at all father his other sister and the little confused brother . If critic wants to see, which is not true, it is here. The description of the organizations effect on the family and how they handle it. These scenes are heartbreaking. Questioned, the organizations will answer with passages from the Bible – still: it is sad. Sad, as this method is well used in other political and religious organizations.