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Aesthetically impressive but verges on parodic of unrelentingly bleak European arthouse cinema well before you even meet the film's central villain (played masterfully, of course, by ace actress Trine Dyrholm), on top of some questionable visual/narrative preoccupations with disability, disfigurement, substance abuse, and other distractions from what would already be more than sufficiently disturbing material to tackle in the historical events being depicted.
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