Film Festival Parks are constantly inconsistent, and they are often arbitrarily assembled. Every year, many uncommon stars are largely collected and different from all over the world of films-managers, scenario writers and actors, and sometimes, critics are collected to manufacture the illusion of consensus. However, some organizational principles can help push this consensus. In an event like the Berlin International Film Festival, known as Berlinale, the main competition usually includes both firm loved ones and partial talents alike-an arrangement, at the risk of generalization, says he often prefers newcomers. Do not generate familiarity with a veteran cinematic director, but it can put a perforated on excitement or comparisons that are not available with previous efforts. An artist reaches less famous without such luggage, and it can be difficult to resist suspense in a bold discovery.
The Norwegian writer and director Dag Johann Hawigroud, who received the Golden Bir Award, the first prize, in Berlinaly this year, is definitely considered a discovery – although in the sixty, and with many short pants and features of his name, is hardly new to come. He won the form of this year’s international jury, led by director Todd Heinz, with “SEX Love)”, which is a singing, mobile comedy and gently benefiting about the pleasures and risk of adolescence. The film, which is considered the original Norwegian title, is “Drenmer”, is the third input in a loose trilogy; The first two parts, “Sex” and “Love”, were shown at Berlin and Venice Film Festivals 2024, respectively. I haven’t seen any of these two films, and I do not know whether any of the jury did that, but I think it will not matter. Although “SEX Love)” left me a patience to catch up with a triple, it is definitely and dreaming, all of this is alone.
A lot of the story was narrated by Johan (Ella Overbi), which is seventeen of the story, and she swings in her intoxicating crushing on her French teacher, named Johanna (Silom Eneito). In the sound of the sound, all kinds of amazing details remain and are inflated: the worldly johanna and the beauty of the other world; The inequality of the inequality of her teacher is associated with other students; The deepest bond that is formed when Johan is recklessly visiting the Johanna apartment. Such internal monologue is often rejected as an incomplete device by its nature – an assumption that provides “dreams (sexual love)” a correction of absorption. Haugerud, who is also a novelist, has a great permission for dialogue, and Johan’s words, decisively, it does not seem to do not do or repeat the images. The exact overlap of the film produces the sound and the sound of great flashes of insight, consecutive details of the texture and emotional coloring, and almost an attractive musical flow.
The narration is also the key to a fun but strict literary perception. Before a long time ago, we learned that, partly, we listened to excerpts from a manuscript that Johan wrote about her relationship with Johanna – a project that seems to have pledged to expel evil spirits. Has Johan’s love remained free of charge? If this is not the case, to what extent you went, and what are the legal or moral limits, if any, are crossed? How many of the manuscript should you believe in the first place? We are not the only ones who think about these questions; In the most inspiring stroke of the film, Johan’s manuscript is exposed to her grandmother (Ann Marit Jacobson) and her mother (ANE DAHL Torp), with this arrangement. Their reactions show a remarkable complexity of the range: shock and anxiety, of course, but also magic, confusion, and justified admiration for Johan’s writer gifts.
When this possibility shows the manuscript to be spread, the responses of the characters, including the amazing sudden face on the part of the mother, develop into an exciting and surprising comment on old practice-sometimes honest, sometimes mercenaries, sometimes both-mining the individual’s experience of art. It is customary for the wisdom of aspirational characters, and hajerud as well, although they are considered the teams of life and strength in playing, but Johan’s attractiveness of another woman, in itself, is not treated as a wonderful thing or a fixed point of identity. In the heart, “dreams (sexual love)” understands that desire, in any way that appears, rarely corresponds to the expected limits. In the position of three generations of women in such a warm and revelation conversation, more than a few of their own limits collapse.
