The winner of Berlinale “Oslo of Old: Dreams”: write to victims in different ways

We live in high -profile times when those who can determine the discourse that can protect others with the help of steep and large theses. The fact that in this noisy atmosphere at the festival, such as Berlinil, such as a quiet and private film, as “Oslo Stories” Daga Johan Hauberid (“Drommer”) could win a golden bear. Moreover, Berlinil loves to decorate himself with the formation of politically devoted film production, which puts his fingers in the wounds of the world and attracts attention to the great crises of the present.

“Dreams” plays in rich Norway and something, which can be called almost banal in his everyday and universal. The 17-year-old falls in love with her teacher, rejects her, and then tries to cope with experience, recording her as a narrative. Her mother and grandmother read their text and draw their own conclusions from him. There are many conversations. Men appear only on the side. But the film unfolds a special charm, as it has become rare in the cinema.

How often is the case with small, modest films, as “Dreams” now, it turns out to be a strategy. Instead of sounding loudly, Hauberada’s film makes his way to consciousness with soft steps and defeats attention – precisely because you must carefully watch and listen, he captivates him.

The fact that the film is part of the trilogy (“Oslo: Love History” began a few weeks ago, “Oslo: Longing” comes to the cinema on May 22), contributes to attractiveness, implicitly luring the question of what establishes the connection. As for the “love”, the next also refers to “Dreams”: each film stands for itself and should be understood without knowledge of others.

Johann (Ella Fire) is the name of the 17-year-old in the center of the film, and that her new teacher (Selum Emnet) represents Joanna, for obvious reasons, in her opinion, creates the first, special connection between them. One hears John’s voice from, showing how he shows the scenes that the film shows us. This will take some time before you understand that you are dealing with several levels: what reflects Johannes’s voice has already happened; The scenes themselves are still dual and open for interpretation.

Discover your own sensitivity

With a description of what is actually happening between a teenager and a young teacher, whether something “happens” at all, the film takes his time. Instead, we are talking about the discovery of John about his own sensitivity. Without giving her love, she reports on sensual experiences that suddenly come and make her own emotional world seem like a strange area that she should explore.

For example, the amazing ability to feel the presence of others in your own body, that is, knowing when the other is nearby before you saw him. To do this, you can see Johann in the school courtyard and talk to friends, while Joanna is invisible at school in the background. Is the intensity that Johanne causes only in the imagination?

While the manuscript that Johann wrote to explore her feelings already falls into other hands, the narrative continues in terms of: Johann continues to look for an accidental meeting with Joanna, not knowing what he actually promises from the approach.

Finally, she spontaneously calls the teacher with the teacher. But when she opens her, she cannot express her feelings in the words and begins to cry. After that, Johanna, completely a teacher, suggests teaching Johann to knit, a hobby for whom an adult woman enthusiastically treats how you can see both her clothes and she with wool in all colors and forms.

Read the text as text

In this environment, knitting in the sense of the word Johann studies a sensual approach to Johanna, who is accused of vague eroticism. Nevertheless, the closer to get closer to the closer one, when another woman becomes a guest of a teacher and Johanna, painfully shows that an adult woman leads her own life. The teenager feels instantly humiliated and became a little student. And in some way Joanna, in turn, gives the impression that she is even a little lightweight about this.

And John Mother Christine (Anya Darp), so grandmother Karin (Ann Marit Jacobsen) participate from all this in a parallel topic of action, reading the text of Johannes. Two women react completely in a different way. Christine does exactly what Johanna wanted to avoid: she “marks” and speaks of the “strange awakening” of her daughter, and the further she becomes reading, the more her concern, regardless of whether the 17-year-old victim of grooming, that is, the unjust seduction of the elderly woman and the teacher became.

Grandmother Karin, even a recognized poet, insists on the interpretation of the text itself: so not a single victim writes. In general, the manuscript is so well written that I wanted to show this to its publisher.

To argue about “Flash dance”

The history of Johannes constantly draws, launches a wide range of feelings and turns from pure memory into literary history. The 60-year-old director Haubarad wrote novels before the start of film production. It is believed that this is noted in a certain way, less in the dialogs that have refreshing, masterful ease and surprisingly observed modern, and not in complex meta -intensity.

That is how Johannes reflects that he wrote the melancholy thinking of his grandmother, who looks back at his own experience as the feminist Alt 68 and envies the granddaughter and her success a little. In one of the most funny scenes in the film, Karin and Christine go to the forest and argue about the interpretation of Flashdance, whose image of women Karin thought was so backward that she could not give in to her daughter Christina, who absolutely wanted to watch the film.

Each generation, Haubereud, shows without an index finger of warning, is characterized by its own ideological prejudices about male and especially female paintings.

The fact that the literary letter and the influence that it has on this topic becomes the subject of “Dreams” makes a special chapter in the trilogy of “The History of the Oslo”, which was committed to the topics of relations, desires and identity. Again, there are many conversations, but with cinematic quality, which allows you to easily listen to the characters.

If you strive for honesty, you have a spectator: in pleasure, immediately worry about how to say, acting and feeling – these are always three different things. But you do not feel malicious joy, you feel with mistakes and are happy for your success.