The Danish dark comedy 'The Last Viking,' from writer/director Anders Thomas Jensen, marks the sixth collaboration between Jensen, Mads Mikkelsen, and Nikolaj Lie Kaas. The film explores themes of brotherhood and identity, centered around two siblings, Anker (Kaas) and Manfred (Mikkelsen), and the societal labels they carry. The narrative unfolds as Anker is released from a 15-year prison sentence for robbery, seeking the buried cash he entrusted to his brother Manfred. However, Manfred's mind is fractured, leading him to believe he is John Lennon, making the retrieval of the money a dramatic and complicated endeavor. Manfred's deep-seated desire is for Anker not to leave him again, a motivation that gradually becomes clear as the brothers clash.

Mads Mikkelsen has praised filmmaker Anders Thomas Jensen for his unique approach to filmmaking, characterized by a distinct blend of poetic themes, absurd mayhem, and specific character visuals. Mikkelsen notes that Jensen excels at telling stories about profound life topics, such as life and death, good and bad, but always wraps these heavy themes in layers of insanity and chaos to avoid pretentiousness. Mikkelsen finds Jensen's universe and tonality unparalleled, likening his style to a mix of the Coen brothers and Quentin Tarantino, yet ultimately asserting Jensen's unique voice.

Delving into his character, Manfred, Mikkelsen described him as an adult who is essentially a child. While not given a specific diagnosis, Manfred is presented as having been 'special' since childhood, a trait evident in flashbacks where he wanted to be a Viking in a society that didn't allow it. His brother, Anker, was his sole protector. Manfred's adoption of the John Lennon persona is rooted in simple, childlike logic: his father loved John, and if everyone loves John, then his brother will likely love John and, therefore, stay. Mikkelsen revealed that his own input contributed to Manfred's distinct look, including the specific glasses and permed curls, designed to reflect a character mentally and physically stuck in the '80s and '90s. The process of achieving Manfred's hair involved a surprisingly smelly perm, a detail that amused and somewhat annoyed Mikkelsen's wife.

Manfred's overly dramatic behavior, such as repeatedly jumping out of cars and windows, was inspired by Buster Keaton's comedic style. These extreme actions, while absurd and often painful for Mikkelsen to perform, are portrayed as a desperate cry for help. Mikkelsen found the self-destructive acts, particularly the window jumps, to be 'fucking funny' in their absurdity. The character's affinity for stealing dogs also plays into his irrationality, though an early idea of him being destructive towards the dogs was removed to focus on his loving nature towards them. The film gradually reveals the underlying reasons for these nonsensical behaviors, tying a 'little bow' at the end to provide context.

The brother dynamic between Anker and Manfred is central to the film's family drama core. Mikkelsen emphasized the importance of private moments where each brother could observe the other, allowing subtle emotions of longing or animosity to build. These nuanced interactions were crucial for the audience to believe the film's ending. Memorable character-defining costumes, such as the Sgt. Pepper and Viking outfits, also played a role in Mikkelsen's performance. These costumes, often created by theater professionals involved in Jensen's productions, help shape the character and contribute to the unique universe of his films.

Beyond 'The Last Viking,' Mikkelsen spoke about his experiences working with director Martin Scorsese on 'What Happens at Night,' calling it a blessing to collaborate with a living legend whose films shaped his perspective. He noted Scorsese's energetic, humorous, and down-to-earth nature made the experience less intimidating. Mikkelsen also reflected on his appearance in Rihanna's music video for “Bitch Better Have My Money,” which surprisingly earned him more