‘Love’ Review: Thoughtful, Grownup Norwegian Romantic Drama Accounts for Different Emotional Needs

As a seasoned moviegoer who has witnessed countless love stories unfold on the silver screen, I can confidently say that “Love” is a breath of fresh air. Coming from a life filled with romantic comedies and predictable narratives, this film feels like a refreshing deviation. It’s not just about finding a soulmate or the traditional happily-ever-after; it’s about exploring different facets of intimacy and understanding that everyone’s definition of love is unique.

As a movie enthusiast, I find myself living in an era where the dynamics of relationships and love are undergoing significant changes. More individuals are exploring and defining their romantic and sexual lives beyond the traditional path of love, marriage, children, and nuclear families. The rise of LGBT identities in mainstream culture has certainly played a role in this shift, but even our perceptions of opposite-sex partnerships – once considered the norm – are evolving. We’re becoming more aware of the intricacies of bisexuality and open relationships.

The movie “Love,” directed by Norwegian author and director Haugerud, is the second installment in a proposed trilogy. Unlike its predecessor “Sex” and the upcoming “Dreams,” this series of films are self-contained yet interconnected, exploring modern sexuality and relationship norms. The film “Sex” delved into the domestic consequences when a man, who was previously believed to be straight and happily married, had a spontaneous encounter with a male stranger and confessed this to his wife. Interestingly, neither “Sex” nor “Love” are strictly about sexual acts or romantic love as we commonly understand them, but rather examine how these concepts can intertwine and diverge in matters of the heart. The third film is yet to be revealed. “Love,” which might be more relatable and accessible than its counterpart, was showcased in Venice’s competition section this year, giving it a boost in profile. This could potentially encourage global art house distributors to prioritize “Love” as it doesn’t necessitate knowledge of the first film.

The story unfolds over a three-week span during a warm August in the Nordic region, as the movie introduces its main characters in the rather mundane setting of an Oslo hospital’s urology department. The charming middle-aged doctor Marianne (Andrea Bræin Hovig) is matter-of-factly breaking the news about a patient’s prostate cancer diagnosis, while her younger, shaggily-haired assistant nurse Tor (Tayo Cittadella Jacobsen) offers soothing comfort from afar. After their private conversation, there’s an evident, easy camaraderie between them that suggests a close friendship but nothing romantically charged. As it turns out, Marianne is straight and Tor is gay, although both are currently unattached. They have distinct goals in their personal lives: Marianne seeks romantic relationships while Tor prefers casual encounters with no commitment for the long term.

Following a pleasant date with divorced geologist Ole (Thomas Gullestad), who’s a pal of Heidi’s friend Marianne, she unexpectedly runs into Tor on a ferry ride home. Fascinated to discover that this is his go-to spot for meeting men, she casually mentions her encounter to a coworker. In recounting the evening, she admits something surprising to herself: “I found myself wishing we could have had a one-night stand and never cross paths again.” To Marianne, this idea seems like an alluring twist on traditional romance; for Tor, it’s just standard practice.

However, as Marianne contemplemplates the implications of brief encounters – contrasting them with her complex emotions towards Ole – an unanticipated emotional landscape unfolds for Tor, triggered by a ferry meeting with attractive older psychologist Bjorn (played exceptionally well by Lars Jacob Holm). There seems to be an instant connection between them, despite Bjorn confessing he has no sexual desires; later on, they cross paths again at the hospital following some distressing news, and they start discovering unconventional means of supporting each other. Haugerud’s script artfully interweaves scenes that lean on coincidence and convenience, as it navigates between insightful human insights and speculative musings. These interactions ring true, even when they appear somewhat fantastical.

This movie is mature yet playful, with a slightly off-kilter humor that doesn’t detract from its serious themes. A side plot featuring Heidi, a municipal worker portrayed hilariously by Engebrightsen as a rebellious spirit disguised in hippie attire, subtly satirizes the contradictions of modern progressive society without becoming overly critical. The film’s visual style, with its soft, sunny colors by Cecilie Semec and Peder Kjellsby’s jazzy score, fits perfectly with its laid-back wit. Hovig and Jacobsen’s subtle, observant performances also avoid being too forceful.

The perspective on contemporary relationships presented in this film is more nuanced than simply ‘live and let live,’ yet its gentle acceptance of individual choices feels remarkably compassionate, intellectually stimulating, and even a touch passionate. The movie illustrates how characters like Marianne flourish in unconventional situations, while Tor and Bjorn find mutual benefits in an undefined partnership. This film serves as a refreshing departure from the past when ‘it’s complicated’ was the standard label for relationships that fell outside the norm of heterosexual coupling. It suggests that deviating from the traditional romantic comedy formula can be less daunting than anticipated, and even enjoyable.

2024-09-06 21:17

‘Love’ Review: Thoughtful, Grownup Norwegian Romantic Drama Accounts for Different Emotional Needs

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