Du Vorsvinder

Denmark, Sweden


Mia is married to the successful headmaster Frederik, who is caught embezzling from his own school. But did he do this of his own free will – or has his personality been altered by the tumour lurking in his brain?

Mia is desperate to uncover what kind of man she is actually married to. If the happiest three years of Mia’s life with Frederik were while he had a tumour in his brain, who was she married to before?

YOU DISAPPEAR is a movie about the challenges we face as neuro-science forces us to re-think what we are as human beings.

Director's Statement

YOU DISAPPEAR isn’t a movie in the traditional sense. It is a collage of experiences dealing with the challenges we face as neuro-science forces us to re-think what we are as human beings. If we’re simply biological systems with unreliable brains, being flung through our chaotic and fragmented lives, then none of the traditional tools of storytelling will apply to filmmaking anymore.

For example, the linear causality of Aristotle, character development via Freud’s thoughts on realisation, rigid genres, and the backbone of mainstream cinema; that we are all strong-willed heroes in a meaningful world consisting of obstacles that are only meant to shape us into better people. All of that stuff will be obsolete.

Cinema as a medium is based on the ability of the human brain to piece together fragments into meaningful wholes. YOU DISAPPEAR uses disjointed fragments of fiction, facts, memories and imagination, which will prompt both curiosity and confusion, empathy and emotional detachment. And that’s fine. Our brains are all different; they shape the way we experience the world around us. As such, we want to allow the experiences and narrative connections to form in the mind of each individual moviegoer.

It is probably fair to say that YOU DISAPPEAR is a demanding movie. It demands of its audience that they let go of conventional ideas of what a movie should be and instead view it with no preconceived notions – welcoming YOU DISAPPEAR as a life experience.

Kick back and enjoy the ride.

Director's Biography

Born in 1971, Peter Schønau Fog graduated as a director from The National Film School of Denmark in 1999 and for his graduation film LITTLE MAN he won, among others, the award as the year's most promising young talent, the so-called VFF Young Talent Award, at the international film school festival in Munich.

Peter has also directed the highly acclaimed THE ART OF CRYING (2006). Peter has subsequently extended
his qualifications in management, plays technique, dramaturgy, documentary development and screenwriting.
In the period from 2010 to 2012 Peter was employed by the Danish Film Institute as project editor for New
Danish Screen.

1999 LITTLE MAN, short
1998 VILDFARELSER, short

Cast & Crew

Directed by: Peter Schønau Fog

Written by: Peter Schønau Fog

Produced by: Louise Vesth

Cinematography: Laust Trier Mørk

Editing: Morten Hojbjerg, Peter Winther, Olivia Neergaard-Holm

Production Design: Gitte Malling, Søren Gam

Costume Design: Kirsten Zäschke

Make-Up & Hair: Linda Boije af Gennäs

Original Score: Mikkel Maltha

Sound Design: Peter Schultz, Niels Arild, Eddie Simonsen

Cast: Lars Knutzon (Laust Saxtorph), Sofus Rønnow (Niklas Halling), Meike Bahnsen (Lærke Bergmann), Trine Dyrholm (Mia Halling), Nikolaj Lie Kaas (Frederik Halling), Michael Nyqvist (Bernard Bergmann), Mikkel Boe Følsgaard (prosecutor)

Nominations and Awards

  • Feature Film Selection 2017