The Danish Girl 2015

The cinematic journey begins with a breathtaking visual tapestry, a montage of landscapes that whisks viewers away to the world of 1926 Copenhagen. Amidst this picturesque backdrop, we find Gerda Wegener (Alicia Vikander), an artist in her own right, standing before a stunning painting that rivals the beauty of the city itself. The artwork is met with admiration and even envy from a patron who remarks that it pales in comparison to the artistic prowess of Gerda’s husband, Einar Wegener (Eddie Redmayne). The gallery owner concurs, declaring Einar part of an elite group of gifted Danish talents, a distinction that sets him apart from his peers.

As we enter the world of these two artists, a title card informs us that it is indeed 1926 in Copenhagen. Einar and Gerda stroll home from the art show, their banter and laughter a testament to their affectionate relationship. The night air is punctuated by the stern command of a passerby to keep the noise down, but these two lovebirds are undeterred.

The next morning dawns bright and early, with Gerda set to work on a portrait of a man while Einar pays a visit to his friend, Oona Paulson (Amber Heard), at her ballet class. His reason for being there is twofold: he wishes to give Gerda the space she needs to create without distraction, and he is drawn to the beauty of dance itself.

Meanwhile, back at their home, Gerda confides in a middle-aged man who sits for her portrait that men often find themselves intimidated by the unyielding gaze of a woman. This candid observation speaks volumes about the complex dynamics at play between Einar and Gerda.

As we delve deeper into their lives, we find Einar painstakingly working on a painting of five trees in the woods, an actual sight in their town. His attention to detail is meticulous, a quality that sets him apart from Gerda’s more free-flowing creative process. The affection between this couple knows no bounds as they engage in tender moments and intimate encounters.

Gerda is hard at work on a large-scale portrait of a woman, but her model, Oona, has yet to arrive. Undeterred, she turns to Einar, asking him to don stockings and shoes so that she can complete the piece. Einar agrees, albeit nervously, and Gerda must guide him through the process of putting on the stockings and holding up a dress for optimal draping. Just as they are finishing up, Oona bursts in with flowers, her eyes lighting up at the sight of Einar serving as her model. With a playful flourish, she bestows upon him the name “Lily,” an affectionate moniker that speaks to their deepening bond.

Gerda arrives at the art collector’s abode, eager to showcase her artistic prowess and receive constructive feedback on her portraits and paintings, including the enigmatic piece featuring stockings. The collector, a man of refined taste, assesses her work with a discerning eye, revealing that sketches of people are dime-a-dozen, but Gerda’s skill lies in capturing the essence of her subjects. He implores her to find a more unique muse, and Gerda departs with his words ringing in her ears.

Upon her return home, she shares the collector’s critique with Einar (Jóhann Hjörleifsson), who listens intently as they begin to exchange tender kisses. The atmosphere is electric, and Gerda’s fingers deftly unbutton his shirt, only to be startled by the revelation that he’s wearing her undergarments beneath. Instead of addressing the anomaly directly, she elects to focus on the sensuality of the moment, her touch lingering beneath the brassiere as they continue their intimate exploration.

The next morning dawns with Gerda sketching Einar while he slumbers, but her strokes betray an androgynous quality, leaving the viewer uncertain whether the portrait is meant to be a masculine or feminine form. When Einar awakens, she gazes at him with adoration, extolling his beauty in a manner that’s both genuine and wistful.

The following day, Gerda and Einar join Oola (Charlotte Bøthner) for a gathering of friends, where the latter regales them with tales of her polyamorous exploits. The revelation leaves Gerda and Einar agog, but Oola’s mirthful laughter belies a deeper insight: that married individuals are more easily shocked than their unmarried counterparts.

As they prepare to attend an upcoming event, Gerda realizes that Einar’s reluctance stems from his discomfort with the attention he receives as an artist. She proposes a solution: why not allow him to attend in disguise, donning the persona of Lili? With Gerda’s expert guidance, she transforms Einar into a vision of femininity, complete with makeup and a wig. As Lili, Einar revels in the freedom to inhabit a new identity, his delight palpable as he navigates this unfamiliar realm.

As they mingle at the party, whispers circulate about Einar’s absence, replaced by an enigmatic figure known only as “Lili”, who has seamlessly stepped into his shoes. Henrik (Ben Whishaw), captivated by Lili’s mystique, draws her into a quiet corner, where their awkward yet endearing courtship unfolds. The air is thick with tension as Henrik leans in, only to be rebuffed when Lili pulls away, citing the unspoken rules of consent. Gerda walks in on this tender moment, her presence a stark contrast to the intimacy that has just been interrupted.

As they retreat home, Gerda’s confusion gives way to concern as she tries to make sense of what she witnessed. Einar attempts to clarify, revealing that he didn’t want to kiss Henrik, but as Lili, she did - and it was Lili who initiated the embrace, not him. This revelation sparks a new curiosity in Gerda, leading her to probe further into Einar’s past. She presses him about his experiences with boys, and Einar hesitantly shares a youthful incident that left him feeling both guilty and ashamed.

This newfound understanding of Einar’s psyche inspires Gerda to tap into his inner world, channeling it onto canvas as she paints Lili in all her glory. The art collector is enamored by these works, demanding to meet the subject behind them - but Gerda cleverly deflects this inquiry, attributing the portraits to Lili’s brief, yet unforgettable, presence.

Meanwhile, Einar finds himself lost in a sea of introspection at home, surrounded by the trappings of femininity. He gazes at his reflection in the mirror, adorned in Gerda’s undergarments, as if searching for answers within the soft curves of his own body. As he strips away the outer layers, his gaze settles upon his genitalia with a mixture of disgust and resignation.

Gerda returns home to share the collector’s glowing praise for her Lili portraits, only to be met by Einar’s unrecognizable transformation into his cousin. Her concern gives way to alarm as she suggests they consult a doctor, who takes note of Einar’s recurring nosebleeds and stomach cramps - symptoms that seem to mirror the turmoil brewing beneath his surface. As Einar opens up about his deep-seated desire to be seen as a woman despite being born with a male body, Gerda is forced to confront the complexities of her own relationship with Einar, now forever intertwined with Lili’s enigmatic presence.

As Gerda encounters the art collector once more, she’s met with the astonishing revelation that he’s sold all his prized paintings, and a prominent representative in Paris is clamoring for her work. The collector’s words are laced with a sense of urgency, encouraging Gerda to seize this opportunity and establish herself as a renowned artist in France. With Einar by her side, she persuades him to join her on this new chapter, knowing that Lili’s presence would be invaluable as a model for her portraits. Together, they embark on the adventure of a lifetime, leaving their past behind.

In the City of Light, Einar continues to serve as Gerda’s muse, posing as her subjects come to life. As they drift further apart, Gerda’s evenings are filled with solitude and contemplation. Meanwhile, Einar finds himself drawn to the city’s seedier underbelly, where he stumbles upon a peep-show club in the heart of Paris’ infamous red-light district. The tantalizing spectacle unfolds before him, but instead of arousal, he becomes captivated by the dancer’s movements. She notices his fascination and engages him in an intriguing game of mirror-like mimicry.

Gerda seeks out Hans Axgil (Matthias Schoenaerts), a childhood friend of Einar’s, hoping to find solace and guidance. As she arrives at his doorstep, Hans reveals that he must depart, citing a pressing engagement with a “Danish girl” waiting for him – a coincidence that resonates deeply in light of the film’s dual title allusions. Though he expresses admiration for Gerda’s artistry, he declines to represent her due to his specialization in other genres. He does, however, request to meet the model who has captured Gerda’s brushstrokes on canvas. Gerda playfully reveals that Einar’s cousin is the subject of her portraits, though she tactfully omits any mention of Lili’s true identity.

Upon returning home, Gerda finds Einar transformed into a stunning replica of Lili. Her world is turned upside down as she must hastily spin a web of deception to conceal the truth from Hans. “Lili” flirts shamelessly with her childhood friend, leaving Hans perceptively wary and Gerda mortified. As the tension builds, Lili becomes increasingly agitated, ultimately fleeing the scene in disarray.

The stormy night finds Gerda attending an art exhibition showcasing her breathtaking portraits of Lili. Hans is in attendance, his intentions clear as he attempts to claim a romantic kiss from her. However, Gerda firmly asserts that “Einar is still my husband,” thus setting the stage for a complex love triangle: Hans’s ardent passion for Gerda, Gerda’s enduring devotion to Einar, and Einar’s own unrequited feelings for Hans.

As Gerda navigates this treacherous emotional landscape, she finds herself overwhelmed by the sheer force of her emotions. She chooses to brave the torrential rain, refusing an umbrella as she walks alone down the deserted street. Hans intercepts her, offering a haven from the storm’s fury and unwittingly setting the stage for a heart-wrenching confrontation that will forever alter the dynamics within this tangled web of love and desire.

In the comfort of their home kitchen, Hans candidly confesses to Gerda that his childhood infatuation with Einar was rooted in a genuine affection for the boy’s beauty. It wasn’t until Einar donned his grandmother’s apron during a game of pretend that Hans couldn’t resist the urge to steal a kiss. However, their innocent moment was brutally interrupted by Einar’s father, who reacted violently upon discovering his son’s same-sex encounter.

As Gerda begins to wonder if she inadvertently awakened Einar’s true identity as a trans individual, he reassures her that this realization has been an ongoing process for him. His desire to understand his feelings prompts the trio to seek guidance from various medical professionals in Paris. The first doctor proposes a radical solution: lobotomy surgery, which would involve creating two holes on each side of Einar’s head. The second specialist diagnoses Einar as homosexual, while the third abruptly exits their consultation.

Upon reviewing his notes, Einar discovers that the third doctor suspects him of being schizophrenic. Feeling disheartened and desperate for answers, Einar decides to escape from the office through a window. Meanwhile, Oola arrives in Paris, sharing news of a pioneering doctor who has successfully treated patients with similar gender identity issues as Einar’s.

Intrigued, Gerda and Einar seek out this progressive doctor, who recounts the story of a patient who sought to transition into a woman. The individual had initially agreed to undergo two operations: one to remove their male genitalia and another to construct a vagina. However, they became anxious and vanished on the eve of their scheduled surgeries.

Einar’s determination to undergo the first sex change operation is met with excitement by Gerda and Hans, who has confessed his deep affection for Einar. As Einar prepares to depart for the hospital, he requests solitude, citing his desire to face this life-changing experience alone. In a poignant moment, Hans reveals that Einar is one of only two individuals he has ever truly loved.

As Einar (Einar) lies in his hospital bed, he can’t help but gaze at his reflection with unbridled enthusiasm, his eyes sparkling like diamonds in the morning light. Without donning his wig, he instead indulges in a playful primping session, styling his hair into an elegant coiffure that exudes femininity.

Meanwhile, on the hospital patio, a pregnant woman approaches Lili (Einar/Lili) with curiosity and concern. “Are you here to bring new life into the world?” she asks gently, her eyes radiating warmth. Lili’s response is characteristically ambiguous, leaving room for uncertainty: “Maybe someday…who knows what limitations I’ll face after my surgery?”

As Einar/Lili prepares to undergo a transformative procedure, her physician carefully outlines the process, his words dripping with caution and concern. Yet, Lili listens intently, her eyes aglow with anticipation, her mind racing with visions of her post-operative life.

The first surgery proves brutal, as predicted by the doctor, but Einar/Lili’s spirit remains unbroken. Gerda (Gerda) arrives unannounced, offering a beacon of support and encouragement. Though Lili is exhausted from the ordeal, she can’t help but marvel at the procedure’s success. Her physician prescribes estrogen pills to be taken every few hours, explicitly instructing her to space them out throughout the day.

As Einar/Lili emerges from the operating room, she finds herself halfway through a life-altering transformation – no longer possessing a penis, yet still awaiting the creation of a vagina. But for now, she revels in her newfound freedom, choosing not to pick up paintbrushes but instead donning a sales associate’s uniform at a local department store.

With an air of authority and expertise, Lili shares a perfume application tip with customers: “In Paris, women never applied perfume directly on their skin. They’d spray it in the air and then walk into it.” Her words are met with enthusiastic nods and grateful smiles.

However, when Einar/Lili strolls through a park, she’s confronted by two aggressive Frenchmen, who hurl insults, questioning her sexual orientation and asking about her “hoo-hah.” Cornered and feeling threatened, Lili punches one of the men, only to be retaliated against with brutal force.

As fate would have it, Gerda crosses paths with Lili in a bustling marketplace, where the latter is socializing with Henrik (played by Ben Whishaw), a connection she initially forged while masquerading as Einar. The chance encounter sets the stage for a poignant reunion between Gerda and Lili, who arrives at her doorstep bearing revelations that challenge Gerda’s understanding of their complex bond. It transpires that Lili’s dalliance with Henrik is purely platonic, an arrangement born out of mutual support rather than romantic entanglement. This disclosure, however, merely serves as a precursor to the more profound changes Lili has initiated in her life.

Gerda, desperate to rekindle their shared passion for art, invites Lili to paint alongside her once more. Yet, Lili remains resolute in her decision to distance herself from the artistic endeavors that defined her existence while masquerading as Einar. Her resolve is further solidified by the introduction of estrogen therapy into her daily regimen, a development that Gerda finds unsettling given the doctor’s explicit instructions regarding the necessity for time between doses.

Lili’s eagerness to hasten her transformation becomes increasingly apparent as she proceeds with plans for the second stage of her gender confirmation surgery, a decision that Gerda vehemently opposes. Despite these reservations, Lili’s determination ultimately prevails, and she undergoes the procedure with the support of both Gerda and Hans.

The outcome is far from optimal, as the doctor’s prognosis paints a dire picture, leaving Gerda and Hans to confront the reality of Lili’s precarious health status. In a recovery room beset by worry, Gerda and Hans stand vigilantly beside their beloved friend, who clings to life despite her physical vulnerability.

In a moment of quiet strength, Lili articulates her conviction that she has finally found her true self, an epiphany rooted in the belief that God created her as a woman, albeit with a critical flaw in her physical being. As Gerda navigates the complexities of Lili’s transformation, she is forced to confront the harsh reality of mortality.

The film’s poignant conclusion finds Hans and Gerda embarking on a somber walk through Denmark, their footsteps guided by the memory of Einar’s artistry. They halt at the site of the five trees, a location imbued with significance from the film’s early moments. As Gerda’s scarf billows away in the wind, Hans attempts to retrieve it, only for Gerda to urge him to leave it be. The discarded garment floats serenely above the picturesque landscapes that once inspired Einar’s brushstrokes, serving as a poignant reminder of Lili’s long-awaited liberation.