• Denmark
  • 1943
  • 97 minutes
  • Black and White
  • 1.33:1
  • Danish
  •  
  • Spine #125

Filmed during the Nazi occupation of Denmark, Carl Dreyer’s Day of Wrath (Vredens dag) is a harrowing account of individual helplessness in the face of growing social repression and paranoia. Anna, the young second wife of a well-respected but much older pastor, falls in love with her stepson when he returns to their small seventeenth-century village. Stepping outside the bounds of the village’s harsh moral code has disastrous results. Exquisitely photographed and passionately acted, Day of Wrath remains an intense, unforgettable experience.

Cast

Absalon PederssønThorkild Roose
Anne, his wifeLisbeth Movin
MeretSigrid Neiiendam
Martin PederssønPreben Lerdorff Rye
Herlof's MarteAnna Svierkier
The ParsonAlbert Høeberg
LaurentiusOlaf Ussing

Disc Features

  • New digital transfer, supervised by cinematographer Henning Bendtsen
  • Deleted footage of interviews from Torben Skjødt Jensen’s documentary Carl Th. Dreyer—My Metier, with actors Lisbeth Movin and Preben Lerdorff Rye
  • Stills gallery
  • Optimal image quality: RSDL dual-layer edition

Film Essays

Figuring Out Day of Wrath

By Jonathan Rosenbaum August 20, 2001

I first encountered Carl Dreyer’s work in my teens, but it wasn’t until my forties that I began to be ready for it. I mainly had to rely on lousy 16-millimeter prints, so ruinous to the sounds . . . Read more »


Clippings

Summer Cineaste: Twenty- First-Century Cinephilia

June 01, 2010

Cineaste has unveiled its summer 2010 issue on its website, and it looks like a provocative one. Editor in chief Gary Crowdus has tackled the ongoing debate about what constitutes valid . . . Read more »


Press Notes

Press Notes: Vampyr Resurrected

September 11, 2008

“Before there were Luis Buñuel, Robert Bresson, Ingmar Bergman, or Andrei Tarkovsky (not to mention Lars von Trier, Carlos Reygadas, and Guy Maddin), there was Carl Theodor Dreyer (1889–1968), . . . Read more »


Film Essays

Figuring Out Day of Wrath

By Jonathan Rosenbaum August 20, 2001

I first encountered Carl Dreyer’s work in my teens, but it wasn’t until my forties that I began to be ready for it. I mainly had to rely on lousy 16-millimeter prints, so ruinous to the sounds . . . Read more »

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