In the vibrant 70s drama Kollektivet Erik inherits a house that is actually too big for his three-headed family. He therefore decides together with his wife Anna in order to include tenants and form a commune. Reminders abound for Vinterberg, who spent his childhood self in such a community. “I have lived in a commune twelve years and miss it terribly,” the 46-year-old director tells in Berlin. “Everything turned parts. I remember when someone suggested to divide the rental income, while he earned the most, making his rent tripled. Something you’ll now not anymore. There is now much more solitude. Go together tasty, sex, fight, drink; I do not understand why people do so little. “

The way the housemates in Kollektivet relate to each other, forming a flawless reflection of society from that time. Equality comes first, but now everyone gets a distinct position. Anna is an emancipated woman with a good job as a newscaster, but notes how vulnerable she really is when Erik trades in her for a younger woman. Meanwhile, we see how their daughter discovered free love, how foreign housemate must tolerate much mistrust and how friend Ole themselves indoors emerged as a controlling police force under the rules of leader Eric, who then themselves sometimes seen as more equal others.

“They do try to avoid a power play, but getting there still entangled,” Vinterberg explains. “It is now once in the nature of man. Still, I think Erik also suffers himself. Anna says she is bored with him and that they have other people around needs it. That’s quite confronting. He reacts aggressive, egocentric and become immoral express love with someone else. That’s not a story about women’s oppression, but about how we are all replaceable. Absurd and sad, I think “

” I admit. Usually ‘t men who exchange women. Often for a younger person, something I myself have done. What Kollektivet which also involves a personal admission of guilt. But more importantly, this film shows how impermanent everything. Love between two people can just disappear, or someone could just die. That I myself also experienced in my commune. “

Vinterberg, however, chose not to model a character in itself. “That would provide enough drama. I happen to be a Dane, love the darkness. In addition, I want to leave anything without consequences. It would for instance have been unfair if Mads Mikkelsen at the end of Jagten suddenly became everyone’s friend. If that does not work. Some viewers get through Kollektivet feel bad about communes, because it ends so dark. Yet you also see how they are still together and keep smiling. That’s a happy ending for me. I especially wanted to show their loyalty and love. “

Vinterberg a similar atmosphere with twenty years ago when he and a group of colleagues shook the film world wake up to the Dogma 95 movement. Films must be as pure as possible, so there were no decorations, music, time jumps, lights or makeup used. Vinterberg kicked the ball rolling with the acclaimed family drama Festen. “We wanted to go against the established order,” he says.