A moving portrait.

Rating: 7/10 (7 January 2016)

Just as fine are Hooper and Cinematographer Danny Cohen (The King's Speech, Les Miserables) picturesque frames. Whitewashed walls, striking European landscapes, countryside murals, and even still paintings of Lily somehow look that much more gorgeous in the eyes of the creative duo. The colour palate grows nearing the end of the final act, yet the proceeding effect is anything but additive. My disappointment is not so much with the continually popping images as it is with a handful of Coxon's safe and opaque decisions by the end of the second and entire third act. A more immersive perspective during Lily's visits to several certified doctors with armchair diagnostics would have added the desired ounce of energy absent in the rushed montage effect, and never really delving into the apparent hopelessness of a male wanting to abandon his gender privileges in the 1920s. And although the conclusion was perhaps a tad too sappy, maintaining a positive outlook could help ensure films of transgender issues maintain an important longevity in Hollywood's shrinkingly phallic hills.
FULL REVIEW HERE: indieadam.com/2016/01/07/the-danish-girl-review-indie-adam/