A few years ago, my sister -in -law came to stay with my wife and I and during dinner told about a friend she had developed deeper feelings for. They had attended research school together and had the same clicks, but one intimacy had grown between the two she struggled to ignore. While my wife felt inclined to ask more questions and break down the situation further, I simply asked: “Do you lie to your friends?” My sister -in -law paused for a moment and then said, “I don’t see why I would have a reason.”
“Why are you lying for one right now?” I answered. She offered some excuses – she didn’t want to destroy friendship, plus, while she had had male partners, it was the first time she would express feelings for a woman – but in the end it recorded it to hold on to these feelings and thoughts would not be better than The possible fall from putting them into action. Today, she and her partner have a house, a dog, a cat and a loving relationship that may not have formed if she had stuck to the dream in her mind rather than making it a reality. And even though that heart me to consider myself as part of her possible happiness, things could very well have gone the other way and changed the perception of my advice from insightful to maybe something more trite and badly thought. After all, I couldn’t go into her crush and see how she felt about it.
This conflict to analyze the inner parts of the human experience is what is at the core today Johan Haugeruds Golden bear -winning drama“Dreams (Sex Love). “Haugerud, which serves both as a vibrant portrait and previous reflection of teenage sexual awakening, uses different stories to draw viewers, from extensive voiceover stories that describe the thoughts and feelings of The filmCentral character, Johanne (Ella Øverbye), and a symphonic point by Anna Berg that lifts our sense of her emotional journey to poetic images that reinforces how a dream can affect other people’s dreams. In fact, one of the deep studies Haugerud seems to explore in his work how dreams are not only held while one sleeps, but as a function in our daily lives.
How to find passion for something – whether it is romance or knitting – without first taking the time to dream of what it can give to their lives? By the same token, how does one judgment over another without first dreaming up a potentially false perception of them? You just have to look at the condition in our world and the rising threat from Autoritarian to understand that we are in one way or another everyone is on something else’s dream and at the same time trying to stick to our own. But what happens when that dream meets reality? Does it cease to exist? If others are now aware of it and are encouraged to decipher meaning from it, does it add an intention to the dream’s view that was not first there?
These are the issues that swirl when we are introduced to life in Johanne, a 17-year-old who has been taken up by his mother, Kristin (Ane Dahl Torp), and Grandma, Karin (Anne Marit Jacobsen), and came of age in the middle The Global Covid-19-Pandemic. This fact is pointed out early in the film and allows us to know how Johanne manages to be so in contact with her inner monologue, as she probably had more than enough time to grow close to it during periods with Lockdown. By founding John’s journey in this conflict and in the challenges of maintaining their sense of youth during these times, Haugerud captures something important when it comes to growing up in today’s world, as well as a universal story of first love that is blooming right now we are starting to search More out of life and existence.
For Johanne, this first love unfortunately happens only her new French teacher, either randomly or serendipitously the name Johanna, but when a fellow student introduces himself as JohnYou start to realize that it can only have more to do with this story taking place in Oslo, Norway. Still, a door opens for Johanne when he sees a part of himself in this older, hip and artistic teacher who refuses to close even after she has written about her love in a short story she shares with her poet grandmother. As the story moves back and forth in time and shows both the relationship developed with Johanna through the short story and how the content of this paragraph later is dissected by John’s mother and grandmother, rather than staying away from the complexity of an inappropriate business, “later” Dreams (Sex Love) “Meet them on the head and focusing on expanding the conversation instead of landing on simple answers.
As huge and fully shaped as John’s sensations for Johanna can be and as nurturing as Johanna proves to her student, their attraction to each other is never completed sexually and relieves any spectator who can be shut down by this dynamic. But the Lurida thoughts communicated in Johannes prose are enough to send Kristin and Karin to a spiral of how Johanne could possibly have felt this way. For Karin – a published poet herself – her concern is quickly exceeded by the impression that John’s romance has left her, even so far to take credit for how Johanne has formulated certain sensations. Kristin, on the other hand, initially fears that this writing may be a cry for help, but when she has given additional details directly from Johanne, she also begins to see the novel’s potential value for others.
By putting a spotlight on Karin and Kristin who interpret their beloved works, Haugerud establishes the great irony with dreams, because once they are out of the mind and in someone else’s hands, they often get a new meaning. A debate between the two over anti -feminist features in drama “Flashdance” 1983 acts as a coded response to the complexity of narrative interpretation, just like John’s own emotional struggle is characterized by the prejudice in her subjective experience. In an attempt to reach the truth and give Johanna a chance to tell her side of the story before Johannes Noella is published, Kristin ends up with meeting the teacher in a small cafe. After she clarified to Johanna, they have no intention to press some accusations, Kristin tries to get her to admit her feelings for Johanne, unless for any other reason it will help a mother know why her young daughter would come into Such a development. But that’s not what Johanna is here to do.
Instead, Johanna shoots back, and did not deny what was written by Johanne, but with all the precautions so as not to suggest that she was the one who took this. Nevertheless, by remaining so nonchalant defensive, her own participation becomes to allow Johanna’s feelings for her to grow even clearer. All despite John’s best efforts to present Johanna in the most brilliant lights, a fact Johanna considers abusive more than flattering. Again, Haugerud complicates our understanding of John’s dream, so as not to increase any view that the audience can build by this cerebral teenager, but as a way to confront how these amorphous, non-physical forces drive every aspect of our being, but are still constantly vulnerable for incorrect interpretation and folly.
It makes one think back to David Lynch and how he was never prone to unpack the logic of his art. For him, the earlier the audience accepted that they were in a dream and joined the ride instead of trying to understand it, the better. Although Haugerud at one time exposes us to what is formally regarded as a dream, he is much more interested in exploring the process of how a dream is released for the world and the effect it will have on them it comes into contact with. For Johanne, her dream of being with Johanna leads and it is then divided with the world through her now published novella in the end to a psychiatrist, a place where reason is intended to be brought to the subject of life and dreams. But when she finishes her 90 -minute session – which we know she was the most important communicator based on Voiceover running throughout the movie – she struggles to understand why she should talk about her dreams rather than in the world that chases the next one. Not long after, she follows her own advice and does just that, even if it leads her down on a road she worked hard to go further away.
“Dreams (Sex Love)” marks the third and final post of a loose humanist trilogy from Haugerud that evokes Krzysztof Kieślowski’s series “Three Colors”, but also succeeds Makes their own mark. Individually, the films are about the conversations that control our lives and inspire new thought, with “sex” after a pair of cis-man’s chimneys that experience a change in their perception of sexuality and “love” that explores how a woman takes on an unattended attitude to Romance after learning about his male colleague’s own permission. “Dreams” complete this triptych by admitting that when it comes to the hearts of the heart and really life in general, we all work from a place for hope and imagination. I may not know what was below my sister -in -law when she sought advice from my wife and I all these years ago, but I know, as “dreams (sex love)” also makes it live and dream does not have to be mutual Exclusive.
Rating: A-
“Dreams (Sex Love)” Premiere at 2025 Berlin Film festival. It is currently seeking US distribution.
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