Kasper Dissing

Kasper Dissing’s filmography is a wild little ride, honestly. The guy’s got his fingerprints all over some of those indie gems people only discover after midnight, half-asleep, scrolling through the weird corners of streaming platforms. "Binge Drinking" (2020)? Yeah, that one’s got some teeth. It doesn’t just show kids knocking back drinks for cheap laughs—it digs into the messy chaos behind the party: the friendships that teeter on the edge, the secrets that slip out when everyone’s a little too loose, and, let’s be real, the regrets that hit harder than the hangover. There’s this raw, uneasy vibe pulsing through every scene, like you’re watching something you probably shouldn’t, but can’t look away. Jump back a few years to "Rejsen" (2017), and it’s a different flavor altogether. Here, Dissing taps into this whole restless, searching energy. It’s a road movie, but not in the classic sense. Characters are moving, sure, but half the time they’re running from themselves, and the journey’s less about the destination and more about the weird, uncomfortable stuff they dig up along the way. The Danish landscape rolls by—sometimes bleak, sometimes weirdly gorgeous—and you can almost feel the cold wind through the screen. "Halvmand" (2016) is where things start to get experimental. It’s not your typical coming-of-age drama. There’s an edge, a sort of awkwardness that feels painfully real. Dissing’s knack for capturing the little, unspoken moments—those glances, the silences, the stuff that never gets said—really shines. Altogether, his movies don’t just entertain. They poke at you, make you think, maybe even squirm a bit. And isn’t that what good cinema’s about?