Anders Thomas Jensen’s films tend to be weird (Men & Chicken), violent (Riders of Justice), outrageous (The Green Butchers), and star Mads Mikkelsen. His latest effort The Last Viking shares all three traits and features a heartfelt and hilarious turn from Mikkelsen.
A standout in the 2025 TIFF lineup, The Last Viking is one of Jensen’s most accessible films when it comes to zany Danish mayhem. Jensen reunites his Men & Chicken and Riders of Justice stars Mikkelsen and Nikolaj Lie Kaas for the sixth time for a darkly comedic tale of brotherly love, psychological issues, and music.
After a long stint in prison for a bank robbery, Anker (Kass) is reunited with his brother, Manfred (Mikkelsen, also in the TIFF film Dust Bunny). While Anker was behind bars, Manfred’s mental health has deteriorated to the point where he believes himself to be John Lennon. Yes, that John Lennon, he of The Beatles fame. Unfortunately for Anker, Manfred, who will only respond to “John,” is the only one who knows where the stolen loot from the robbery is buried. In a plot as absurd as Mikkelsen’s hairstyle, Anker must reunite “The Beatles” if he is ever going to be able to connect with his brother and get his hands on the treasure.
As fans of writer-director Jensen have come to expect, the narrative takes a delightfully bizarre turn. Jensen once again demonstrates his mastery of crafting hilariously eccentric characters, eliciting laughter at the sheer absurdity of the situations they find themselves in, all while retaining a genuine tenderness. He consistently walks this fine line, seamlessly transitioning between genres over the course of the two-hour film.
The root of Manfred’s issues lies in childhood traumas, which are mined to both deeply sad and hilarious effect. A recurring gag in which he violently throws himself out of a moving car or window any time his wish to be called “John” is disrespected never gets old. Seeing Mikkelsen fully commit to the physicality of the role is absurdly hilarious, eliciting greater laughs each time it takes place.
True to the nature of Jensen’s film, the strength lies in its ensemble. Each actor is note-perfect, providing palpable on-screen chemistry and coordination. It feels like a well-oiled machine of Danish players. The cast needed to commit to these oddballs to make the absurdity of the story become something beyond simple gags and one-liners. Comedy in a non-English language film doesn’t always translate well to English captioning, but here, Jensen’s cast makes the jokes land effectively.
When the brothers return to their isolated childhood home in the woods – now an Airbnb – The Last Viking wafts between being a comedy, drama, musical, and grisly crime tale. Here is where Jensen introduces us to more of his offbeat ensemble, including Lothar (the excellent Lars Brygmann, also featured in Riders of Justice), as the psychiatric doctor with a deep understanding of dissociative personality disorders. With him, he brings two patients who identify as other members of The Beatles with hopes that reuniting the “band” will snap Manfred out of his delusions.
Although mental illness forms the basis of the film’s most comedic moments, it ultimately serves as a vehicle for acceptance and understanding, rather than being played for laughs. The men are treated with empathy and respect, not mocked for their belief that they are The Beatles. As strange as the story seems on paper, The Last Viking resonates deeply.
The Last Viking shows us that even the strangest delusions can lead to genuine, emotional connections. Jensen delivers a film that is as absurd as it is tender, and one of the true gems of the 2025 Toronto International Film Festival.
