Laura, another reason it would be interesting to compare to the Danish original is to see where that movie’s major plotline points hit. For example, one could make the argument that the end of Act One is when Isabel first meets Theresa (22–27), but one could also argue it’s that moment between Isabel and Oscar where there’s clearly something amiss (35) because that’s the first time we *really* get a sense that all is not what it seems. I always say that the end of Act One should provide everything a reader needs to know about where the story is headed. Not how it gets there. Those twists and turns should provide surprises. But for this movie, because there are so many twists, it just feels like the curtain closes on Act One once there is an indication this adventure is going to have some surprises in store for our Protagonist.

I don’t know much about the Danish film industry, but my instinct is European films are less constrained by the conventions of Hollywood screenplay structure, e.g., “The break into Act Two must happen on Page 25.” I wouldn’t be surprised if their page count mimics what this screenplay has.

But to your point, those four beats you note are some biggies and as you say, they happen with 10 pages of each other. Support for the Whammo theory of screenwriting which says something needs to go Whammo every 10 pages.