Beystiman It's fun, it's light, [but] it has a hard time when its tries to get heavy.

Chirphymium It's entirely possible that sending the audience out feeling lousy was intentional

Grimossfer Clever and entertaining enough to recommend even to members of the 1%

Ogosmith Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

mindcat After reading some of the dismal reviews by some posters I am wondering if we watched the same movie? What I often find is many a children and immature, and feel they have the competency to review drama and great art. None sense, children with your popcorn boxes and shallow minds.There is not much more Mindcat can say that has not already been said by the truly intelligent reviewers here. The movie is a gem and is so far removed in quality at every level from the Hollywood block-bonkers, it probably stuns some of the deer here in the headlights.See the movie if you have an IQ of 120 or better, you'll love it on all levels. Children stick with Mickey Mouse and the Cadavier that Ate Chicago.

Elvine I am Dina is completely incomprehensible. It lacks focus and direction and even though action good for at least ten feature films is pressed together at a little over two hours the story drags.The over acting makes Daniel Day-Lewis pale in comparison. (Maria Bonnevie is not only beautiful, she can make her eyes go huge, too. And she can breathe heavily. These talents are never clearer than in her scenes against Björn Floberg, who behaves as though he acts in a completely different film. Maybe he new better than to listen to the director.) Confusion surrounding the accents is complete. If those speaking with a Norwegian accent are supposed to be speaking actual Norwegian, it's only logical that the man with the Russian accent is speaking Russian. And then it's strange that all Norwegians (and the British and the Danes and Swedes and French - who knew northern Norway was such a cosmopolitan place back in the 19th century) understand him.What director Ole Bornedal wants to convey is a little unclear. Maybe that little girls who cook their mothers alive tend to act out as young adults?

Fred Freddson Faced with the prospect of a Norwegian film in English with a plethora of international actors, I should have seen the warning signs. For one, people speaking accented English to convey the sense of a foreign language has always annoyed me ("Zose are ze fekts, mein fuhrer!").This film isn't perhaps quite that awful, but the plot appears to have been written by the committee for Silly Twists together with the Fjord Tourist Board.Equally, the style of the film is all over the place: a smörgåsbord of genre-dipping ranging from horror and ghost-tale to melodrama, costume drama, sub-Ibsenesque family saga, Bergman-lite and god knows what else.Together these result in an utterly confusing accretion of episodes that usually end in death, or haunting, or both, but no clear directorial stance on how see either.What I'm missing is any kind of moral, aesthetic or conceptual centre. We must remember that the woman upon whom the film centres is responsible for several deaths, at least one of the premeditated. But is she mad? Is she hallucinating? Is she simply dreaming? Which brings us to the central character. Personally I'm all in favour of strong female roles but the one that this film serves up is a completely anachronistic projection of modern modes of behaviour onto a time where a woman would not have been able to do what Dina does without getting shut up in a nunnery or a madhouse at the very least.Shouldn't a film that shows a woman overcome adversity and male prejudice at least show some pretty effective adversity and male prejudice? For most of this film Dina rides roughshod over men and women alike (or unshod, depending upon the stable boy in question). It's as if her initial trauma is so overwhelming that the world simply makes way for her for the rest of her life. Fat chance.Therefore I'd have to recommend any discerning viewer to give this portentous, confused example of the international co-production a miss.

Henry Fields The story of a girl that caused the dead of his mother when she was a child. That will mark her whole life and her relationships. She lives obsessed by death."I am Dina" has a powerful and promising beginning, but as the story advances everything turns a little bit confusing. It looks like a second rate Bronte sisters tale, and it gets much worst as the ending approaches.Not even that red-head beauty called Maria Bonnevie makes the movie a little more attractive. Boring (big time)*My rate: 4/10