As a seasoned gamer with countless hours spent navigating virtual worlds, I must admit that “My Eternal Summer” took me out of my comfort zone and into the heartrending realm of real-life drama. This poignant film has left an indelible mark on me, not unlike the emotional impact of completing a particularly challenging game level or quest.
Exploring the heartfelt experiences of 15-year-old Fanny (Kaya Toft Loholt), the profoundly touching movie “My Eternal Summer” (Min Evige Sommer) follows a summer vacation filled with anticipation as Fanny’s terminally ill mother, Karin (Maria Rossing), nears her end. With subtly nuanced scenes brimming with poignant imagery, first-time feature director Sylvia Le Fanu and co-writer Mads Lind Knudsen create a distinctly Scandinavian image of an educated bourgeois family bravely confronting a devastating ordeal with wit, humor, and frequent drinking, often in elegantly designed interiors.
Following its debut in the New Director section at San Sebastian, the drama momentarily pauses for a screening in the competitive strand of the BFI London Film Festival. With its relatable emotional depth, it may have a chance to secure distribution outside of the Nordic regions.
Throughout the movie, Fanny is present in nearly every scene, but occasionally, the camera shifts focus to spend brief moments with Fanny’s parents, Karin and Johan (played by Anders Mossling). During these instances, we witness their struggles with managing the practicalities of Karin’s approaching demise, presumed to be from cancer. However, the narrative perspective is so closely tied to Fanny that it mirrors a child’s obliviousness about their parents’ work, as the sparse dialogue never explicitly reveals the couple’s profession. Though scenes showing Karin playing piano frequently and later discussions about her students suggest she was either a musician or music teacher, Johan’s dry humor and his habit of carrying a book about the gulag hint at an academic background.
They’re spending their final vacation as a family of three at their quaint seaside cottage, which is situated away from Copenhagen. At this moment, there are no discussions about work. In fact, conversation is scarce as they adjust to the quiet house. A hospital bed has been delivered due to Karin’s inability to climb stairs anymore, and arrangements have been made for district nurses to pay regular visits during her remaining days.
As a devoted single child, Fanny does her best to assist whenever possible, yet being a teenager, she’s naturally prone to typical self-centeredness. The agitation she feels towards the weak internet connection at the cottage is a clear indication of her turmoil as she navigates deep grief over losing her mother, coupled with boredom.
Fanny’s feelings towards her boyfriend, Jamie (Jasper Kruse Svabo), who appears rather dense but endearing, consume a significant portion of her mental energy. Following his brief visit at the start of the trip, Fanny seems to unreasonably perceive his subsequent silence as him disappearing, when in reality, he’s likely just engrossed in sports and his life in the capital. She pens a poorly written, self-pitying poem about their last farewell and shares it with Karin, who initially assumes it’s about her upcoming departure. Once Karin realizes it’s actually about Jamie, she displays a mix of slight disappointment and amusement.
As a gamer, I’ve got to admit, this game does an outstanding job at weaving intricate details that truly bring characters to life. One moment that stood out was when Fanny attempted an online personality test and sought advice from her loved ones on which three-word phrases best suited her – like “serious, honest, faithful” or “loving, smart, thoughtful”. Johan, being a skeptic of such simplistic labels, jokingly called her “bossy”, and to some extent, he was right. Yet, Fanny is more than just bossy; she’s serious, honest, faithful, loving, smart, thoughtful, and yes, sometimes a bit bossy too. But don’t forget, she can also be angry, confused, and in time, incredibly empathetic once she moves past her infatuation with Jamie.
In the face of Karin’s deteriorating health, as we gather for a heartfelt farewell on what would have been her birthday, I find myself grappling with every stage of grief simultaneously. Yet, despite my own sorrow, Karin manages to summon the strength one last time to make a selfless decision in honor of her parents.
The poignant content might cause viewers to shed tears in abundance, but what truly sets Le Fanu’s direction apart is its absence of melodrama. Instead, she concentrates on ordinary routines – the subtle expressions of gratitude and compassion, and the prolonged fatigue that lingers for hours, days, even weeks as one endures the agony of waiting for someone to pass away.
Jan Bastian Munoz Marthinsen’s soft, unobtrusive lighting complements the characters seamlessly without seeking unnecessary attention. Similarly, the music by Patricio Fraile and sound design by Frederik Lehmann Mikkelson blend harmoniously, balancing cello melodies with the soothing sounds of ocean waves equally. The acting from the entire cast, particularly Toft Loholt, Rossing, and Mossling, is equally captivating and flawless.
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2024-10-01 00:54