Name: Aphaca - Brug for Hinanden
Genre: Documentary
Released: 2026-05-13
Duration: 1 h 54 min
Rating: 6.3
Cast: Rumle Kærså, Bertil Engberg Nielsen, Bertram Ask Plauborg Rasmussen

A sympathetic band film that never quite becomes more than cozy

42/100 The musicians are likeable, but the documentary feels monotonous and reveals too little about their music or personalities.

The interesting question is who the film is actually made for. Do you go in as a huge Aphaca fan, as someone who likes some of their music, as a regular cinema-goer, or as someone who doesn't care for their music at all? For me, the answer is quite crucial. If you're a big fan and already know a lot about the band, the film probably feels intimate and cozy. If you're not, the documentary isn't strong enough on its own.

The sound experience was surprisingly underwhelming. It might have been the theater, of course, but I sat there almost wondering if the film was only running through the front speakers. In a music documentary, the sound should be one of the things carrying the experience. Here, it felt strangely flat. That's pretty poor.

The film's biggest strength is that it doesn't just center on the lead singer, Rumle. You actually get closer to the other band members, especially Bertram, who seems like the most open and complex in the film. That is also where the film succeeds best. I felt like I knew the other band members a bit better afterwards.

The problem is just that I don't know how much else I got out of it.

The film wants to be about pressure, friendship, identity, and the difference between standing on stage and stepping down again. That's also how the film is officially described. It asks who you are on stage and who you are afterwards, as the four friends need each other more. But it never goes deep enough into it. You see them at a psychologist, you see them talk about pressure, and you feel a bit of the difference between going up on stage and coming down again. But you don't get those truly vulnerable moments. Not those moments where you think, okay, now I understand them.

It lacks conflict, development, and direction. Who is closest in the band? Who has had a hard time with whom? When have they argued? How do the relationships actually work? You don't really know after the film. It is intimate in its imagery, but not always intimate in its content.

Musically, I could have wished for more too. I don't understand much more of the process behind the songs after the documentary. I wish that they had actually explained the meaning or story behind the songs. You get a little, especially at the start, and you understand a bit of the relationship with their producer or manager. But not enough for the film to feel like a strong music documentary.

And the film is too monotonous. It doesn't really build up to anything. Sure, you might know that Roskilde is big, but the film itself doesn't create any major dramatic movement. It lacks that feeling of everything leading up to a crucial moment. After the first hour, I could feel my mind starting to wander. That's never a good sign.

The most positive thing is really that the boys seem incredibly likable. If they have bad sides, the film doesn't show them. And that's also where the question arises: is this a documentary film or a commercial? It certainly feels very polished. Maybe too polished.

There are also some scenes where the film quite clearly plays on their youth, bodies, and charm. Among other things, there's a skinny-dipping scene with two of the members, where you almost feel the camera gets a bit closer than it really needs to, but for the girls in the theater, it perhaps needed to go just 1 cm lower. It's not that it ruins the film, but it says something about the fact that the documentary also knows they are young, handsome, and have a certain visual appeal. Maybe some of their younger female fans in particular will get more out of those parts of the film (of which there are many) where the members are shirtless and you can see their muscles. That happens a lot, I can reveal. For me, it just became a bit unclear whether it was supposed to say something deeper about friendship and freedom, or if it was mostly there because it gives the film a bit of extra summer, skin, and fan service.

I walked out of the cinema with a nice summer feeling and a craving for festivals and concerts. But almost any music documentary about a young, sympathetic band could have given me that.

Aphaca: Brug for hinanden is beautiful, friendly, and sympathetic. But it's also too superficial, too monotonous, and too unrevealing to truly justify a cinema ticket, unless you are already a big fan.

Danish cinema is renowned for its intimate focus on character and moral complexity, often framed with naturalistic performances and understated visual style. It has balanced art-house innovation, such as the Dogme 95 movement, with popular storytelling that explores family, community, and ethical dilemmas. Danish filmmakers often examine how personal choices collide with collective responsibility, giving even small-scale stories a sense of moral weight and cultural reflection.

The documentary is a form of non-fiction storytelling that aims to present factual information, insights, and perspectives on real-world subjects, events, issues, or people. Documentaries can cover a wide range of topics, including history, science, culture, social issues, nature, biographies, and more.

Dziga Vertov in Man with a Movie Camera (1929)

Bertram Ask Plauborg Rasmussen, Bertil Engberg Nielsen, Noah Elias Rasmussen, Albert Rung, and Rumle Kærså in Aphaca - Brug for Hinanden (2026)

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Aphaca - Brug for Hinanden

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