Kirsten Rolffes

The mutant fetus is born. Dr. Helmer comes under heavy scrutiny for a botched operation that left a patient braindead, and begins to dabble in the dark arts in order to ward off those seeking an end to his career. Hypochondriac Mrs. Drusse finally does have something bad happen to her medically when an ambulance hits her.

The young girl Johanne is left by her mother at a solemn convent school. The school is a strange world to her, and when she feels unable to comply with the demands of faith she faces a difficult decision.

At The Kingdom, Denmark's most technologically advanced hospital, a number of strange and otherworldly events begin occurring, much to the dismay of its doctors and patients. A ghostly ambulance appears and disappears, the voice of a little girl calls to a patient in an elevator shaft, and a doctor's fetus begins growing at an alarming rate.

Liv Ulmann's directorial debut also had her co-authoring the screenplay (with poet Peter Poulsen) as based on a Henri Nathansen's 1932 novel about an affluent late 19th century Jewish merchant family in Copenhagen. Ulmann focuses on strong-willed daughter Sofie's progress through life: a love affair with a gentile painter, an arranged marriage , childbirth and ever more fateful challenges.

It is the adult Gustav Adolf, who tells the story of the momentous day when he as a little boy with his father and mother and the whole staircase, went to the beach to enjoy the pleasures of bathing. We are in 1930s working-class neighborhood in Copenhagen. In a backyard apartment, we meet the little working-up of small Gustav Adolf (Benjamin Rothenborg Vibe) who has great respect for his father, Axel (Erik Clausen). Father has a very lively gab and is always ready to tell a story from her exciting life - often from the time he was on the big Argentine pampas.

Farcial action fun with Bertil and Hugo, who do menial jobs at a big city hotel. Bertil is about to marry and has put money aside for his bride's morning gift. Only Hugo has kind of borrowed the money and blown it all on a wrong bet in a pigeon race. Together, they obviously have to get rich quick. When a diamond seems to be lying around for the taking, the hotel is virtually on its head.

Karl Åge and Regitze host a summer garden party for close friends, their son, and his family. Karl Åge is quiet, detached; Regitze is spirited, lively. He thinks back: love at first sight during the war, living together unmarried, her mother's hunger strike when they won't baptize their son. Regitze is passionate and forthright; she speaks her mind. He remembers her inviting a derelict for Christmas dinner, and the man shows up with five bashful friends. He recalls her taking on their son's teacher when the man slaps the lad. He remembers her love of dancing and his fear that his social clumsiness might end their relationship. Now, in twilight, he has other things to face.

In Nørrebro, in a property ripe for redevelopment, only one family remains: the Hansens. With Elvis as the head of the family. A welfare recipient who, sitting on the sofa with a beer in his hand, can fix the whole world situation, and Herdis Hansen, the all-embracing wife who provides electricity for her husband's TV and strolls around in a fur coat "given" to her by their son Brian. Despite the king's bailiff Kjeldsen's countless attempts to evict the Hansen family, Elvis manages to fend him off every time. To get them to move, he is offered director Knudsen's new headquarters, a villa in an affluent neighborhood in Charlottenlund, as a temporary solution.

FINAL ACT is based on Noel Coward's play "Waiting in the Wings". Even the smallest events turn into mind-blowing dramas at The Set, a retirement home for former actresses in England. Jealousy and madness flare into a firework display of toxicity when ex-primadonna Lotta Henderson (Birgitte Federspiel) moves in. A slap in the face of The Set's leading star in her own eyes, May Davenport (Mime Fønss), who has had a lifelong rivalry with Lotta both on stage and off. The daily dramas reach dizzying heights when a scandalous journalist (Anne Marie Helger) gains access like a wolf in sheep's clothing. A stunt that has a not-so-clever connection to the ladies' burning desire to be granted a veranda. The matter is raised to the highest level of the home's tough board of directors, and The Set's secretary Perry (Holger Juul Hansen) comes under justified suspicion of skulduggery. But this is where May Davenport's diva talent comes in as a sure trump card...

Coffee has been outlawed and an organization of retired people smuggle coffee from the Swedish mafia, while Walter pursues his new love interest and Carlo deals with a midlife crisis after being dumped by his girlfriend.