Count Nikolai of Monpezat made his film debut in the Swedish psychological thriller “Doktor Glas,” which premiered in Danish cinemas in early April to mixed reviews. Critics called it an adequate start for the actor but found the film lacking emotional depth, while others praised its gripping narrative despite uneven dialogue.
The cameras caught something unusual at the Stockholm gala premiere in late February. Prince Joachim’s eldest son, now officially Count Nikolai of Monpezat, walked the red carpet not as a model or royal curiosity but as an actor in a proper Nordic production. The film “Doktor Glas” opened in Denmark shortly after, and the verdict is in. It is fine, mostly competent, and occasionally gripping, but not exactly profound.
Berlingske gave it three out of six stars. Their reviewer wrote that the film works well enough for a dark evening and represents an okay start for Count Nikolai, but it never becomes truly deep. Soundvenue was more generous with four stars, noting that while the film makes odd choices and some dialogue falls flat, the compelling story overshadows those missteps.
I have watched Danish media cover royal offspring for years, and this feels different. Nikolai is not dabbling. He took a role in a serious adaptation of Hjalmar Söderberg’s 1905 novel, a classic Swedish text about desire, morality, and societal hypocrisy. The film updates the story to modern times, following a lonely doctor named Gabriel Glas who becomes entangled in a dangerous love triangle with a fashion designer trapped in an unhappy marriage.
A Minor Role in a Serious Production
Nikolai plays the brother of one of the three central characters. It is a small part, but it matters that he chose this project over something flashier or more commercial. The film was directed by Erik Leijonborg and produced by SF Studios, with lead roles going to Isac Calmroth, who also co-wrote the screenplay, Thea Sofie Loch Næss, and Christian Fandango Sundgren. These are not household names internationally, but they represent solid Nordic talent.
According to reports, the decision to take the role was not easy for Nikolai. A meeting convinced him, though details remain vague. What is clear is that he has been building a life outside the royal spotlight. He worked as a model for years, then started a consulting job at Dansk Industri around the turn of 2025. Now he is testing acting.
What the Critics Actually Said
Information’s reviewer called the film elegantly photographed and stylish, with a timeless quality despite its contemporary setting. The critic noted that director Leijonborg paints an almost caricatured portrait of the upper class characters who populate the story. It is not flattering, but it fits the source material’s critique of early 20th century Swedish society.
Soundvenue acknowledged that not all the performances work perfectly and that some creative choices feel strange. But the reviewer argued that the interesting and suspenseful storytelling compensates for those flaws. The film earns its tension honestly, even if it stumbles in execution. Nikolai gets a brief mention as someone who makes a short visit to the three main characters, which suggests his role does not dominate the narrative.
Berlingske was less forgiving. Their take was that the film never achieves real emotional or intellectual depth. It functions as decent genre entertainment but fails to probe the darker psychological territory that Söderberg’s novel explored. For a first film role, they suggested, Nikolai acquitted himself adequately but not memorably.
A Broader Context
Danish cinemas had a strong lineup in early 2026, and “Doktor Glas” positioned itself as a chilling Nordic thriller with star appeal. The trailer, released shortly before the premiere, emphasized atmosphere and unease, playing up Nikolai’s involvement without making him the centerpiece. Danish media latched onto his blue blood background, but the film itself appears to have aimed for substance over celebrity gossip.
I find it interesting that Nikolai chose a Swedish production for his debut. His family history connects him to both Denmark and France, and a Scandinavian project fits that regional identity. It also shows some ambition. He could have taken a safer role in a Danish television drama or a lighthearted comedy. Instead, he went for a psychological thriller adapted from a literary classic.
The question now is whether he continues with acting or returns to more conventional professional work. The reviews suggest he has potential but needs stronger material and more screen time to prove himself. Danish audiences seem willing to give him a chance, judging by the media coverage, which has been curious rather than hostile.
One thing is certain. This is not a vanity project padded with nepotism. The film has a real pedigree, serious themes, and professional talent involved. Nikolai got an okay start, as Berlingske put it. Whether that start leads anywhere depends on what he does next, and whether directors see enough in him to offer bigger roles. For now, he has joined the long tradition of aristocrats testing their luck in the arts, a move that carries both privilege and risk in equal measure. The cinematic legacy of figures like Carl Theodor Dreyer looms large over any Danish film discussion, reminding us that true artistic achievement requires more than a famous name.
Sources and References
The Danish Dream: Carl Theodor Dreyer: Journeying Through His Cinematic Legacy
The Danish Dream: Niels Arden Oplev: Movies, Bio and Insights
The Danish Dream: Christoffer Boe: His Movies and Unique Take on Drama
The Danish Dream: Best Cinemas in Denmark for Foreigners
DR: Grev Nikolai har haft sin filmdebut: Her er dommen
