[Review] Oslo, August 31st

Anders (Anders Danielsen Lie) marches through the forest, his famished-looking frame shrouded by the brittle branches imposing his personal space. As he approaches a river, he collects rocks — small ones here, slightly larger ones there — and stuffs them into the pockets of his black leather coat. He then lifts a bulky stone, the size of a robust baby, off the ground and carries it with him into the water. This incident occurs early on in Joachim Trier‘s Oslo, August 31st, and it speaks to this writer-director’s remarkably nimble sense of temporality that we’re not quite sure whether our beaten-down hero is going to come out from under the water.

It’s a nimbleness that was so beautifully displayed in Trier‘s altogether phenomenal first feature, Reprise, and it’s one that carries over heavily into this lyrically worthy follow-up. The specific sense of time, however, is an
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