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From ScoreTheFilm's movie blog...

NOTE: Anything considered a spoiler in this review is a soft one. This is a picture that needs to be seen and I'd hate to ruin it for anyone.

The entire cast and crew are to be congratulated for making such a beautiful film filled with love and quality at every turn. Writer/director Mark Raso has crafted an unconventional love story that shouldn't offend anyone if you give yourself to the picture and to the characters. What's most striking is that it never once feels disingenuous; it holds true to itself until the very end. No spoilers here, but the ending does not compromise anything that was so carefully and quietly set up in the previous hour and a half.

The two leads, Gethin Anthony and Frederikke Dahl Hansen, are fantastic. They really sell it and Hansen, in particular, is a wonder to watch. Her subtle performance goes that extra mile so naturally that it's nearly shocking this is only her third feature film. Keep an eye on her career. She's got moxie! I don't know moxie is but whatever it is, she's definitely got it. But seriously, I think I could have fallen in love with Effy, too, only it would be even more gross for someone three times her age, much less twice. Effy is a fun and endearing character that makes it all too easy for William to find himself falling for such a free spirit. Anthony has the unenviable role of starting out a picture as a right angry a$$hole (to his best friend and everyone else) and gradually transforming into a warm and caring man. Between his performance and Raso's script and direction, he pulls it off.

Copenhagen is a beautiful city and Alan Poon's camera captures it with such detail, admiration and allure that it's practically an invitation to be a part of it. This is his first narrative feature film as cinematographer. The young talent associated with this picture is staggering and most impressive. Hell, it's Raso's first feature film as well. His choices in music for the picture, from the Danish songs to Agatha Kaspar's score (her first feature, too!), only add to the magic of the film. The song that Effy sings at the karaoke bar is mesmerizing and it feels like the grounding moment that solidifies the bond she now has with William. It's a powerful scene.

Ultimately, the maturity of Raso and his co-conspirators in art and beauty boils down to a pivotal scene near the close of the film. The choice Raso makes with these two characters hinges on making or breaking the film and he does exactly what was needed to stay true to their story. I kept waiting for the ball to drop, not for my lack of knowledge about these film makers but because so often there's something that will take you out of a picture that has worked so hard to keep your attention. It might not ruin it but it dilutes what was carefully constructed. COPENHAGEN doesn't compromise itself with convention or societal acceptance. The relationship William and Effy have is told with such grace that it pulls you in, making you care deeply for them, wanting it to somehow work out but knowing that it shouldn't. The moment they kiss for the first time (don't worry, it's nicely done) took me back 30 years to when I had those 'first' moments, moments I haven't felt in a very long time. That's how much I was drawn into this picture. How it plays out (the film and not my teenage love life) and how it concludes is a journey you need to take. Keep this on your radar. Hopefully it will be available to the public by the end of this year.

Shot in the beautiful city of (you guessed it) Copenhagen, Denmark, the film follows 28-year-old William (Gethin Anthony) as he searches for his grandfather with nothing to guide him besides a letter—written in Danish, which William can not read nor speak—that his father wrote around 40 years ago. After his best friend Jeremy (Sebastian Armesto) and Jeremy's girlfriend (Olivia Grant) leave him to search the city on his own, William enlists the help of a local girl, Effy (Frederikke Dahl Hansen), to aid him in his search. The two begin to form a budding romance, until William discovers that Effy is only 14 years old. Though Copenhagen begins as a search to find one's family, it soon becomes clear that it's far more important to find one's self. Through William's character, Raso paints a vividly accurate portrait of having to mature and develop as one travels through their 20s. Both Anthony and Hansen give remarkable performances, artistically presenting a great deal of sentiment. I personally prefer to remain eternally seven, but Raso gives a great argument on the benefits of growing up.