Having recently lost her sight, Ingrid retreats to the safety of her home - a place where she can feel in control, alone with her husband and her thoughts. But Ingrid's real problems lie ... See full summary »
Ellen Dorrit Petersen,
A man convicted in his teens for killing a child is released on parole. He finds work as a church organist and develops a rewarding relationship with a priest and her young son. However, ... See full summary »
Pål Sverre Hagen,
Ellen Dorrit Petersen
Hawaii, Oslo is the story of a handful of people who cross each other's path without necessarily knowing each other, during the hottest day of the year, in Oslo. We follow Frode and Milla. ... See full summary »
Trond Espen Seim,
Jan Gunnar Røise,
Evy Kasseth Røsten
Alain Leroy is having a course of treatment in a private hospital because of his problem with alcohol. Although he is constantly distressed, he leaves the hospital and tries to meet good ... See full summary »
A businessman goes home during the working day to change his trousers having spilled coffee on himself. When he arrives in the underground garage below his apartment block he finds a car on... See full summary »
A heartbroken, young man discovers a new type of drug that boosts a persons free will. The only negative side effect is that its effect has an end, so how bad can it really be? And why does its maker decide to never sell it ever again?
Eirik M. Bøe
Eirik M. Bøe,
Ole Victor Corral,
Anders Danielsen Lie
The opening and closing minutes of Oslo, August 31rst are peerless filmmaking, a simultaneously nostalgic and disturbing slideshow of images from the titular city, which appears as some kind of larger supernatural entity with a will of its own. The film that they bracket is pretty decent too. It's a quiet slice of cinema verite about Anders, a recovering drug addict.
This isn't your standard AA-approved narrative of redemption, and that's what makes it good. Anders discovers that the world outside is frosty, ambivalent towards him, and most of all banal and meaningless. Of course, the difficulty is portraying banality without being banal yourself, and Trier doesn't entirely succeed here. But it does provide, on top of the more philosophical statement, a great representation of the difficulty of getting back into society after leaving it. Oslo, August 31rst is smart enough to see the social barriers that make the standard addiction narrative so deceitful.
Other than the immediately striking opening, there's nothing overtly impressive about this film. It has its flaws, such as the ending, which seems contrived compared to everything that's come before. But it's a quietly solid picture that certainly deserves a little of your time.
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