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Oslo, August 31st (2011)

Oslo, 31. august (original title)
Not Rated | | Drama | 31 August 2011 (Norway)
2:11 | Trailer

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One day in the life of Anders, a young recovering drug addict, who takes a brief leave from his treatment center to interview for a job and catch up with old friends in Oslo.


Joachim Trier
19 wins & 19 nominations. See more awards »





Cast overview, first billed only:
Anders Danielsen Lie ... Anders
Malin Crépin ... Malin
Aksel Thanke Aksel Thanke ... Terapeut (as Aksel M. Thanke)
Hans Olav Brenner ... Thomas
Ingrid Olava Ingrid Olava ... Rebekka
Øystein Røger ... David
Tone Beate Mostraum Tone Beate Mostraum ... Tove (as Tone B. Mostraum)
Kjærsti Odden Skjeldal ... Mirjam
Petter Width Kristiansen Petter Width Kristiansen ... Petter
Emil Lund Emil Lund ... Calle
Johanne Kjellevik Ledang ... Johanne
Renate Reinsve ... Renate
Andreas Braaten Andreas Braaten ... Karsten
Anders Borchgrevink Anders Borchgrevink ... Øystein
Lennart Anker Lennart Anker ... Terapigruppen


Anders is a recovering drug addict in an Oslo rehab clinic. On 30 August, he is given a day's leave to attend a job interview in the city center. After visiting his friend Thomas, he proceeds to his appointment. In the interview, he admits to being a drug addict and storms out. He then wanders the streets of Oslo for the rest of the day and night, meeting, and sometimes confronting, people from his past. The film ends the next day, 31 August. Focusing on the decisions Anders has made with his time off. Written by ikissmymom

Plot Summary | Add Synopsis


Live today, one minute at a time. See more »




Not Rated | See all certifications »

Parents Guide:

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Official Sites:

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Norwegian | English

Release Date:

31 August 2011 (Norway) See more »

Also Known As:

Oslo, 31 août See more »


Box Office

Opening Weekend USA:

$9,564, 27 May 2012, Limited Release

Gross USA:

$100,713, 16 September 2012

Cumulative Worldwide Gross:

$1,470,679, 29 May 2014
See more on IMDbPro »

Company Credits

Production Co:

Don't Look Now, Motlys See more »
Show more on IMDbPro »

Technical Specs


Sound Mix:

Dolby Digital



Aspect Ratio:

1.85 : 1
See full technical specs »

Did You Know?


Anders Danielsen Lie's real-life wife is named Iselin. See more »


Thomas: Proust is Proust.
See more »


Referenced in Fokus på Film fra Sør (2011) See more »


Look Out Your Window
Written by A. Tjore
Performed by The Apricot
© 2011 VME
See more »

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User Reviews

Brutal, straight up realsim about getting the monkey off your back
19 May 2015 | by secondtakeSee all my reviews

Oslo, October 31st (2011)

A highly realistic, intimate view of a young man who has completed a drug abuse program and is trying to rejoin his life. It's a rough ride, sometimes boring, sometimes raw, but it's the real thing, and if you have an interest in this kind of common problem without watching a documentary, this is the movie.

Though set in Oslo, there is a universal quality to all of this. Yes, the leading man, Anders, has the usual problem getting jobs. But that's just the beginning. It's about friends who want to help and friends who expect him to help them be wild. It's about old girlfriends, new girlfriends, parties where you can't drink, family that wasn't adequate, and on and on.

And the temptation of real drugs, beyond drink.

It's odd to realize, but I think the bottom line is that most young people live in a culture that's on the edge, on purpose and for good reason. And there is a percentage of people who can't handle that, who need to go over the edge, and will always go over the edge. Some of those people understand it early and save themselves, others never can. And life is a series of crises.

This isn't a feel good movie about a man who succeeds (I'm not saying here if he succeeds or not—just that it's not some sunny happiness after a round with the devil). This is about what it might be like to be in the shoes of Anders, or anyone like him, and how almost impossible it is to rise up. And his friends and family are partly to blame, sad to admit.

The final few minutes of the film are poetic—elegiac might be a better word—and the opening to the film is similarly daring and edgy. It's odd and perhaps too bad the the middle—the bulk of it—is more prosaic. It's good, it's really good, but without the poetry we are sure to sink into empathy and sadness, watching what is surely so believable it is, somewhere, all too real.

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