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The Germans, for instance, possess no backstories, and we never learn what they did on the battlefield. Yet such lack of character development wouldn’t be so significant if it didn’t converge with the sidestepping of larger issues. The subject matter contains rich ethical quandaries and moral ambiguities, but on several points Zandvliet-who both wrote and directed the film-makes things easy for himself. In a sense, Land of Mine makes the soldiers mere fodder for tense scenes in which anyone may be loudly and violently eviscerated at any moment.
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The Germans, however, barely register: there’s a pair of twins (Emil and Oskar Belton), a naysayer (Joel Basman), and a leader (Louis Hofmann), but none of the others come across with full dimensions. (One boy steals from a nearby farm in order to help his comrades, but the rat excrement-laced animal feed poisons his platoon.) Watching a teenager’s arms get blown off will do that, but Zandvliet also depicts the professional boundaries Rasmussen must transgress, and the difficult choices he must make, in order to obey his conscience: to sustain morale he lies about the fate of a killed soldier, and he even pilfers military provisions for his unit in order to counter the starvation diet the Danes impose on the Germans. Rasmussen (Roland Møller) is placed in charge of the dozen or so POWs, and the film focuses on his transformation from an abusive, coldhearted martinet into a sympathetic father figure as he begins to view the boys with humanity. Make It Real: Form and Void By Eric Hynes