The dynamics between academics and trainers can also be a dynamic, even the most acceptable type: As young people, we spend a lot of time with educators and rely on their considerations and recognition, so much so that this A connection can develop into a rapid disgust or quasi-family emotion – an impression that means that usually lives longer in memories, rather than they teach us.
For 17-year-old Johanne (Ellaøverbye), along with her new coach Johanna (Selome Emnettu), the similarities with their names begin, with a deeper emotional connection than the emotions between her. Maybe she hasn't projected in any way. Dag Johan Haugerud's “desire” carefully obscures and never ends on an unstable topic, capturing the double-headed double-peaked lens of the confusing old flames, on the one hand, your world becomes a hormonal haze apparently Know yourself better than ever.
Haugerud is suitable for the sunlight contact of courage, which is not shocked in “desire”, a novelist-turned-film trilogy that analyzes the romance and intimacy of modern Norway. The two earlier “sexual intercourse” and “love” are also characterized by simultaneous restraint and nonjudgmental candidness, who urge the human portrayal of man to mature for additional sensational remedies. However, the impossible delicacy is twice as much for “desire,” one of the adult stories of many three stories, except for the one that is centered on only women’s needs. (Until the late appearance of the key character of “Love” will in any other case represent an uncommon connection thread in these cases, where there is a nary-free person on the screen.)
As suggested by its suggestion in the title “Sexual Desire Love” on the collective screen, “Desire” is indeed the second part of the trilogy, although the changes in the game selection make it the ultimate contender internationally- In the same festival in the lower panoramic bar, “Fucking” keeps playing, annually for the year. This promotion of promotion demonstrates the curiosity and admiration that Haugerud's extremely unique career has accumulated over the year as it provides issuers with options for release plans.
However, “desire” feels like a potential breakthrough title: a narrative of perhaps the clearest, least narrative of the three, shot in hot form, a generation-specific melancholy that makes Norwegian title the most Bad special title. People in the World” a fence. (The matte scrub of Cecilie Semec’s lens, the cold pastel extra movie distinguishes the movie from the elastic flavor of its predecessors.)
“My life is in the clouds,” Johanne. Until she wrote them down, she saw her emotions as elusive, invisible, whether they themselves or unreadable-though like many teenagers Likewise, she oscillates wildly between the reserves of secrets and the fragility of her inner sleeves. Romantic love so far is one thing Johanne has realized only through basic literature, but when she first The second time she walked into Johanna's classroom, she felt it immediately: “I might really feel her presence through my physique, and she said, this infatuation only intensifies from there.
Johanna herself is young and fair, and has cultivated an informal, pleasant rapport with her college students: Johanne's obsession is not amazing, although it is complicated for her. When her single mother, Ane Dahl Torp, tried to open up and keep her mind open, she would be mindful when she described it as a “strange awakening” and Johanne wasn't particularly established as a queer, never early on. Sometimes falling in love is more unwilling to outline yourself on a single (despite earthquake, expertise) basis. She found that one of the easiest ways to understand it was to write it down: not in the messy diary type, but as the protagonist's lyrical prose narrative.
It is difficult to measure her heartache when Johanne boldly transfers to her coach’s residence, it is a fact that fantasy is difficult to measure, it is a fact that fantasy is difficult to measure, it is a fact that fantasy is difficult to measure, it is a fact that fantasy is difficult to measure , how exhaustive it is under the guise of extracurricular weaving courses, the woman's woman believes that one extra thing should be caused. For most of the film, Johanna can only be seen through the eyes of her scholars, and we think that perhaps the {} degree of hallucination of the residents is working.
But with Haugerud's twist, the clear script cleverly expands to different perspectives, along with those of Christine, John's liberal poet grandmother Carlin (Anne Marit Jacobsen), and Johanna himself – the image becomes blurred And rich. Is Johanna intentionally taking advantage of her youthful costs or is she cleverly trying not to hurt her? Is Johanne himself deceptive or is he a person who sees something there? Øverbye (already a promising presence in Haugerud's 2019 film “Beware of Young People”), an amazingly calming, simply hurting efficiency) retains all this potential, behind which the character is smooth, Curious Mien.
Far from Johanne's turbulent internal life, her writing sows the tension between her elders and within, as Karin sees and appreciates its enormous literary value, while Kristin reads only a series of ever-growing The more shocking the shocking revelation about the daughter. The following push and pull between them peaks in the movie’s most lively scenes, a beautiful excavation over decades that includes all the problems, the “flash” that feminists deserve.
Haugerud's work continues to be amazing and resilient as it picks out the broad sense of insecurity and ideological differences between three generations of ladies, but retains the most harshest compassion for the youngest of them. Because Johanna's precocious writers learn to benefit from strange forms and the contours of the coronary heart, the impetuous woman swears in her agility that she will never love this fashion again. She may also be appropriate. But “desire” makes her like us, except for the real feeling.
