Thomas Høegh

reference Thomas Høegh’s filmography is a bit of a wild ride, honestly. The guy’s got his fingerprints on a trio of projects that couldn’t be more different. First up, there’s “Bird in a Box” (2012)—that one’s a quirky piece, sort of an indie gem that doesn’t really care about playing by the rules. You get these unexpected moments, a bit surreal, and you’re never quite sure where it’s going next. It’s got this raw, almost playful energy to it, and you can tell Høegh isn’t afraid to push some buttons or mess with your expectations. Then you’ve got “Identity of the Soul” (2009), which is a total pivot. This one dives into the whole human condition thing—think searching for meaning, grappling with identity, the big philosophical stuff. It’s a little heavier, with visuals that kind of stick in your brain. You get the sense that Høegh really wants to make you stop and think, maybe even squirm a little. He’s not making it easy for you, but hey, that’s half the point. And just when you think you’ve got him figured out, he pops up in “Made in England: The Films of Powell and Pressburger” (2024). This is more of a love letter to classic cinema, digging into the legacy of two British legends. Høegh gets all nostalgic, but not in a sappy way—he actually brings fresh eyes to the old-school magic, connecting the dots between past and present. Honestly, you look at his body of work and it’s like, here’s a filmmaker who refuses to get pinned down. He’s into storytelling, sure, but he’s also not above shaking things up just to keep everyone on their toes.