When in Rome sends Gerda and Kristoffer to the Italian capital for their fortieth wedding anniversary. Their daughter's gift becomes a test of the marriage when Gerda encounters Johannes, the teacher she loved while studying art there. The resulting triangle is quieter and more complicated than a postcard romance, though the film is not always as substantial as it wants to be.
Niclas Bendixen uses Rome as a reflection of the characters' feelings rather than decorative wallpaper. Tourists, streets and everyday life remain visible around the landmarks. Manuel Alberto Claro's gently moving camera lets that environment register without insisting on its beauty.
The performances are the strongest element. Bodil Jørgensen makes Gerda's frustration, longing and dignity convincing. She is neither a victim nor a rebel, but a woman changing inwardly. Kristian Halken gives Kristoffer's passivity and grumbling a vulnerable edge. Rolf Lassgård allows Johannes regret and humour rather than turning him into a seducer or villain.
The rhythm is less assured. The first half waits too long for its tensions to develop; dialogue feels arranged and scenes linger. In the final third, those feelings acquire the weight I wanted earlier. The humour also improves when it comes from friction between the characters.
The questions about missed possibilities and love after decades together are sincere. Sometimes the film is too cautious to explore them fully. I wanted more emotional risk, although its quiet warmth and fine lead performance remain worthwhile. My rating is 3 out of 5 stars: patient viewers may appreciate the subtleties, while those wanting momentum alongside depth may find themselves waiting.