As a connoisseur of cinema and a seasoned traveler who has ventured through the winding streets of Oslo, I must say that “Love” (or “Kjaelighet”) is a hidden gem that should not be overlooked. This Norwegian dramedy, with its nuanced exploration of modern dating customs in the digital age, is a breath of fresh Scandinavian air that rivals the likes of The Worst Person in the World and Richard Linklater’s Before series.
The title of “Love” (or “Kjaelighet”) has much to appreciate, but its generic English name isn’t one of them. This common title might lead viewers to confuse it with works by Gaspar Noé and Judd Apatow, among others, potentially making it harder for them to discover it through online searches. This would be unfortunate because Dag Johan Haugerud’s dramedy, which premiered at Venice, is a genuinely enjoyable watch.
Straightforward, considerate, and chatty in its examination of contemporary dating practices in the app era, this film merits broader recognition beyond the festival circuit. Being the second installment of a thematically related, though not directly narrative linked trilogy, it follows Sex which screened in Berlin, and Dreams is set to be released next. It’s bound to resonate with viewers who appreciate refined, thoughtful Scandinavian productions like The Worst Person in the World, or romantic films that French cinema is known for, such as Richard Linklater’s Before series.
Currently in modern Oslo, we encounter Dr. Marianne (Andrea Braein Hovig), who specializes in urology. This means our first interaction with her involves her delivering grim news about prostate cancer to a taken aback patient. Present during this moment is Nurse Tor (Tayo Cittadella Jacobsen), who notices that the patient doesn’t seem to fully comprehend what Marianne said. In an effort to help, Tor takes it upon himself to explain things more clearly to the patient later on. This scene subtly suggests that while Dr. Marianne is well-versed in men’s physical systems and biology, she may not always grasp their emotional or psychological aspects – something Tor believes he has a better understanding of as a gay man.
Over on the ferry bound for an island within the Oslo metropolitan area, I find myself running into an acquaintance. This summer, I’m temporarily residing here, while he’s en route to a dinner gathering that doubles as a sort of blind date with Ole Harald, a geologist known around town. Rumor has it, he’s got his fair share of challenges: a daughter and an ex-partner who lives next door, making co-parenting less complicated but adding to the baggage. The woman in question is Solveig, an alcoholic ex, played by Marian Saastad Ottesen.
During their journey, Tor discusses his approach of using Grindr to seek romantic prospects, often engaging in encounters even on the ferry with men representing various types of masculinity, ranging from those experimenting to confirmed cruisers, and everything in between, including those seeking a long-term partner. Tor’s openness towards casual sex leaves an impression on Marianne, who feels compelled to express her attraction to Ole Harald by touching his behind. Although the gesture has some effect, things progress at a slower pace for this heterosexual pair. It takes additional dates, extensive discussions about their circumstances and future aspirations, before Marianne and Ole Harald are ready to share a bed. However, the concept of app-facilitated hookups intrigues her. Before spending her first night with Ole Harald, she uses Tinder to find a brief encounter partner, an experience that doesn’t go exactly as anticipated but still brings her pleasure.
Simultaneously, the film subtly reveals Tor’s growing contemplation about his casual encounters. One evening on a ferry, he encounters Bjorn (Lars Jacob Holm), a charming man significantly older than Tor who seldom uses dating apps. Shy and reticent, Bjorn initially declines Tor’s advances on the boat, but they engage in a comfortable conversation instead. Later, Tor recognizes Bjorn at the hospital where he and Marianne work, noticing his distress over some troubling news. This encounter initiates a relationship that is initially non-sexual, revealing Tor’s more nurturing, compassionate side – a trait that undeniably enhances his skills as a nurse.
In simple terms, the cinematography by DP Cecilie Semec is uncluttered and makes full use of the soft, low-angle light during Nordic summer evenings. The scenes are drawn out in lengthy, relaxed shots that let the actors shine. Luckily, the performers are more than capable, and their dialogue, particularly between Hovig and Jacobsen, has a delightful rhythm to it, reminiscent of harmonious duets. As the story progresses, it touches upon themes of friendship and romance, with a focus on how Marianne’s friend Heidi (Marte Engebrigtsen) reacts to her adventures in ‘zipless fucks’. Love, as the saying goes, comes in many forms – a complexity that the film Love subtly acknowledges.
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2024-09-07 20:25