"“Stays true to the conventionalities of the genre – yet has that ingenuity that comes with Scandinavian cinema...”"

Coming off the back of the Academy Award winning In a Better World, Danish filmmaker Susanne Bier returns with something a little more commercial and accessible, in her unapologetically old fashioned and sentimental rom-com Love Is All You Need – a film that manages to stay true to the conventionalities of the genre – yet has that ingenuity that comes with Scandinavian cinema, making for a pleasant and congenial watch.

Trine Dyrholm plays Ida – a warm and compassionate mother of two, who manages to overcome her battle with cancer, despite losing her hair during chemotherapy. Although relieved and delighted at the news, when she returns home she finds her husband Leif (Kim Bodnia) having an affair with his work colleague. With just days left to go until her daughter Astrid's (Molly Blixt Egelind) wedding to Patrick (Sebastian Jessen), the resolute Ida decides to fly out to Italy nonetheless, where she strikes up a bond with the groom's father Philip (Pierce Brosnan), despite the collision of personalities between a woman who is inherently optimistic, and a high flying business man who has a somewhat derogatory take on the world.

The film is reliant upon the viewers amicable and sympathetic feelings towards Ida – and we are instantly endeared to our protagonist as we are told right away that she has been diagnosed with cancer, creating an empathy later on enhanced by her innocent charm and vulnerability. She has an infectious optimism to her, with a face that lights up as though she is seeing everything for the very first time.

Naturally becoming somewhat protective of our lead – we also need to find the good in Philip to believe in and support their relationship, and despite coming across as a selfish and narrow-minded man, he too has a vulnerability to his demeanour, as a widowed man, still struggling to overcome the loss of his wife. In so many romantic comedies we are introduced to our protagonists, and we are made to think that they'll never get together, and then lo and behold, love blossoms while you watch on incredulously. However in this case – and although the pair are incredibly different to one another – you can see why they would fall in love, with a chemistry and strong dynamic between the two performers.

The film does suffer from becoming overly melodramatic and mawkish at points, with an inclination to steer towards superfluous drama and a contrived attempt to ensure all loose ends are tied. However, Bier manages to induct her dry Scandinavian humour to proceedings, able to add a touch of quirky European cinema to an otherwise stereotypical 'Hollywood' rom-com. Such creativity does dry up as the film progresses however, managing to go from being somewhat whimsical, to pure sentimentality as we reach the latter stages, yet Bier allows herself the license to be rather soppy, given the strong start and build up of the narrative.

There are certainly shades of Woody Allen to Love Is All You Need too, with a film that takes on the form of an ensemble piece, as we delve into a host supporting characters lives – all individually complete with a series of issues surrounding love and relationships - issues that intertwine. There is just something that feels sincere about this title, and although this is ultimately your every day romance flick, it's simply done well and as such is let off the hook where other films may well be scrutinised – helped along with a pleasing Mediterranean setting and an overall aesthetic to match the tranquil and enchanting ambiance.

Bier's next project is Serena – a potential break into the big time for the Dane, as she reunites both Bradley Cooper and Jennifer Lawrence together for the first time since Silver Linings Playbook – and considering she has taken what is a hugely ordinary and established story with Love Is All You Need, and managed to create something shrewd and enamouring - it makes you feel rather encouraged that her next project could be a real winner.