Eighteenth-century Denmark was sharply divided between the ruling class and its laborers, who were essentially glorified serfs. Even as progressive ideas began to filter in from other parts of Europe, change seemed unlikely so long as the state council maintained its own advantages. The arrival of the new British Queen Caroline (Alicia Vikander) complicates matters when she discovers that her husband, King Christian VII (Mikkel Boe Følsgaard), is easily manipulated and that the aristocracy intends to exploit this weakness. A glimmer of hope appears with the appointment of physician Struensee (Mads Mikkelsen). His methods are less about medicine and more about understanding the king’s psychology as he develops a friendship with Christian, even catering to his whims. Initially, the Queen pays little attention to this newcomer, but when she notices some of his books, she suspects they share a connection—and so the story unfolds along increasingly dangerous yet liberating paths for him, her, and the people. Predictably, the nobility disapproves and conspires with the dowager Queen Juliane Marie (Trine Dyrholm) to reinstate the old order. Director Nikolaj Arcel couldn’t deviate much from historical events, but he does convey the contrast between the court's opulence and the population's poverty; the selfishness of the wealthy landowners and their talent for protecting themselves. While Mikkelsen and Vikander both deliver strong performances, I felt that Følsgaard’s portrayal of the king was most compelling—a man teetering on the edge of madness, seemingly as fragile as porcelain and incapable of independent thought. The film's visuals are rich and believable, the script features concise dialogue that works well, resulting in a high-quality drama blending romance, politics, and power.

Source on TMDB