Knight of Fortune
The loss of a loved one, the grief, the risk of yellow skin, and a coffin, that is too much for Karl to face. Then it's much easier to fix a broken lamp. Karl meets Torben - a destined brother. An absurd, humourous, and melodic meeting between two old men captured by grief.
Interview with Director Lasse Lyskjær Noer
Congratulations! Why did you make your film?
This film is very personal to me. It emerged from a time when I was grappling with the weight of personal losses.
I wanted to break the taboo around grief and emphasize the importance of acknowledging and processing loss. I wanted to show that there's room for many different ways to do it. Grief wears many faces and affects each of us individually. That's why it was important for me to create a film that encompasses both the darkness of grief, but also its warmth, love, and laughter. Making this film was my way of contributing to normalizing grief and reminding us of the importance of being there for one another in the darkest moments of our lives.
Imagine I’m a member of the audience. Why should I watch this film?
I screened the film at ‘Clermont-Ferrand’ not long ago. After the screening, a young French man came up to me with tears in his eyes and he said: “Thank you, I didn’t know I could cry and laugh so much at the same time… Now I need to go call my grandmother and ask her if she’s okay.”
That interaction was incredibly impactful to me. Knight of Fortune is a drama dealing with pain & loss, but it is also a film that will make you laugh and aims to celebrate friendship & life.
How do personal and universal themes work in your film?
The central themes explored in Knight of Fortune encompass loss, grief, loneliness, guilt and the profound impact of friendship. As I wrote this story, it was at a time in my life marked by the loss of individuals incredibly dear to me - an era when I found myself frequently at the hospital morgue. It’s not a very pleasant place, to say the least - characterized by its clinical, sterile, and frigid ambience. Through these experiences, I began to understand the immense significance of the presence of loved ones, who can infuse warmth, support, and love during the darkest hours of loss.
Yet, I couldn't help but contemplate the harsh reality that not everyone is fortunate enough to have that network of support when they lose someone deeply significant in their life. This contemplation served as the foundation for the film's premise.
In Knight of Fortune, I sought to create a rich and nuanced portrayal of grief, understanding that each person's journey through it is a deeply personal odyssey. The inspiration for my main character, Karl, was drawn from my own experiences, particularly the loss of my grandmother and the precious moments I shared with my granddad thereafter. Karl, a man of few words, is a character who has never quite mastered the art of articulating his emotions. Much like an iceberg, he conceals the vast majority of his feelings beneath the surface. It's far more manageable for him to repair a broken lamp or extend a helping hand to someone like Torben, whom he encounters at the morgue than it is for him to confront and grapple with his own pain.
In sharp contrast, Torben is a more emotionally expressive individual, and their chance meeting ignites the kindling of a unique and powerful bond between them, ultimately shaping the heart of the narrative.
How have the script and film evolved over the course of their development?
Creating the script for this project was undoubtedly a lengthy and introspective journey. Initially, I was very fearful of treading on sensitive ground, as I sought to intertwine the themes of loss, grief, and humor. It was only when I freed myself from the weight of expectations and the fear of potentially causing pain that I could really start writing.
I am very grateful to those individuals who have lent their expertise and support. Their insights and assistance have been invaluable in shaping this film.
What type of feedback have you received so far?
I recall the moment when I screened the film for the first time in a packed cinema. I was so nervous that I could hardly remain seated. However, as I heard the first burst of laughter ripple through the audience I could finally begin to enjoy the moment. It's been a deeply gratifying experience to witness the positive reception of Knight of Fortune. At numerous festivals where the film has been showcased, I've had the privilege of connecting with several individuals who have approached me to share how the film has touched and moved them. It's truly heartwarming to witness the impact the film has had on its viewers.
Has the feedback surprised or challenged your point of view?
Undoubtedly, the sensation of having your film resonate with the audience is an extraordinary experience. For filmmakers who invest significant time and effort into their creations, there's nothing quite like the satisfaction of knowing that their work has connected with viewers in a meaningful way.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
This provides an excellent window for a new audience to discover my film, and I'm hopeful that it resonates positively with them.
What type of impact and/or reception would you like this film to have?
I sincerely hope that 'Knight of Fortune' will inspire people to extend a helping hand to those who are grieving. It's essential to understand that there's no wrong way to reach out to someone in the midst of grief. No one should have to bear the burden of grief alone, and I hope this film reinforces the importance of reaching out, supporting one another, and fostering connections during those challenging times.
What’s a key question that will help spark a debate or begin a conversation about this film?
What can we do to put more focus on grief and ultimately take better care of people dealing with grief?
What other projects are the key creatives developing or working on now?
Presently, I'm in the preface of writing a feature film that delves into the turbulent relationship between two neighbors engaged in a war between one another. However, the narrative takes a dramatic turn when a tragic accident results in the killing of the neighbor across the street. Faced with the dire consequences of their actions, these antagonistic neighbors find themselves compelled to set aside their differences, reconciling and joining forces to conceal their tracks.
Interview: November 2023
We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTQIA+, POC, First Nations, scifi, supernatural, horror, world cinema. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela
Knight of Fortune
The loss of a loved one, the grief, the risk of yellow skin, and a coffin, that is too much for Karl to face. Then it's much easier to fix a broken lamp. Karl meets Torben - a destined brother. An absurd, humourous, and melodic meeting between two old men captured by grief.
Length: 24:47
Director: Lasse Lyskjær Noer
Producer: Kim Magnusson and Christian Norlyk
Writer: Lasse Lyskjær Noer
About the writer, director and producer:
Writer/director LASSE NOER graduated from The Film and Photo School of Copenhagen, and Multiplatform Storytelling and Production in Aarhus. In late 2015 he co-founded the production company Jalabert Production in order to have more control in the making of his films. He has since then written and directed films all over the world both for commercial clients and musicians such as OVERWERK, Rasmus Seebach, Jack&Jones, Carlsberg, Tuborg, Hummel, and more. His films often move into the realm of the Dark Comedy genre as he loves exploring subjects that are taboo or controversial, with humor.
KIM MAGNUSSON has received 7 Academy Awards nominations and 2 awards, all for short films. Currently serving as Head of Creative of Scandinavian Film Distribution, Magnusson graduated from the AFI Conservatory in 1991 and is credited as a producer in more than 150 films. He was chairman of the Danish Film Academy for 20 years, as well as the Danish Producers Association for 9 years. Magnusson's short film Election Night won an Academy Award for Best Live Action Short Film in 1999. His other nominated short films include Helmer & Son, Wolfgang, Ernst & Lyset, Silent Nights, On My Mind and also produced last year’s nominee Ivalu. He received his fifth Oscar nomination and his second award for the 2013 short film Helium.
CHRISTIAN NORLYK, the producer behind Jalabert Production, embarked on his career journey in 2008 while still in high school. He started by creating a series of low-budget short films, often infused with a satirical twist. At the end of 2015, Christian & Lasse co-founded Jalabert Production, their own production company. Since its inception, Jalabert Production has produced an array of prominent productions spanning two short films, a featurette, four pilot episodes, multiple branded content projects, music videos, and two documentaries both nationally and internationally.
Key cast: Leif Andrée (Karl), Dick Kaysø (Torben)
Looking for: journalists
Instagram: @knightoffortune_shortfilm
Hashtags used: #KnightOfFortune
Other: IMDb
Where can I watch it next and in the coming month?
Not confirmed